Reviews by Scubadevils

Thieaudio Oracle MKIII

2x DD, 2x BA, 2x EST
RRP: $589



Introduction

Thieaudio are a brand I’ve been well aware of for quite a while, they have a loyal fanbase and highly regarded in the community. I’ve been curious on and off about various releases, but for some reason never actually took the plunge – I had tried a couple of sets at various meet ups over the last few years, but only ever a fleeting listen and not enough to make a reliable judgement. The recent launch and subsequent very high praise for Valhalla grabbed my attention, in part as I’m quite partial to an all BA set, and I’m an absolute sucker for titanium! As it happens, Linsoul reached out recently and invited me to review the Oracle MKIII which felt like a good opportunity to properly assess my first Thieaudio.

I would like to thank Lili from Linsoul for the opportunity, and note of course that all thoughts expressed are mine with no influence or indeed payment from the brand!

Oracle MKIII is available directly from Thieaudio HERE or Linsoul HERE

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



About Thieaudio

From a nameless group of DIY enthusiasts to one of the best acclaimed IEM brands in the world, THIEAUDIO has made an incredible journey in the pursuit of high-fidelity audio. THIEAUDIO has become a staple brand in audiophile communities around the world, beloved for its best-in-class tunings, superb technical performances, and budget-friendly pricing. From the start, the THIEAUDIO team has put audio quality at the forefront of each project, aiming to be the Robin Hood of the audio world by bringing the best sounding audio solutions at the most affordable prices. Since its launch in 2019, THIEAUDIO’s legacy of in-ear monitors has forever changed the world of IEM’s, influencing how global manufacturers of earphones engineer their products. THIEAUDIO’s international team of few, but dedicated engineers from China and South Korea are committed to continuing this legacy by creating innovative, yet affordable, audio solutions that will leave you in awe.

Specifications:

• Frequency Response: 20Hz - 44kHz
• Sensitivity: 99dB (±1dB) @1kHz
• Crossover: Four-Way
• Driver: Two Ultra-High Frequency Drivers, One High Frequency Driver, One Mid Frequency Driver, Two Low Frequency Drivers
• Cable Connectors: 2-pin 0.78mm
• Cable Termination: Modular Termination with 2.5mm, 3.5mm, 4.4mm Interchangeable plugs

Unboxing

The Oracle MKIII arrives in a nice branded box – I like to see key details on the outside such as the drivers marked clearly on the front, plus good to see a VGP Award too.



When the outer sleeve is removed, there is a plain back interior that opens out and you are quickly greeted with the contents.



Nothing fancy or elaborate in terms of the unboxing experience, but still feels of decent quality. The box is probably a touch large considering the size and amount of contents, they could probably reduce this down somewhat and improve carbon footprint.





Accessories

First off, I’m delighted to see a cleaning cloth included – not enough brands do this in my experience, and I always love to have a cloth nearby to keep the shells nice and shiny, or give the screen of my DAP a quick clean – as noted in previous reviews, I am a bit OCD in this regard so a supplied cloth is always welcomed, one can never have too many…



Aside from that incredibly important cloth, you get a selection of silicon tips in S/M/L, and a set of foam again in S/M/L. I’ve seen much better selections with other sets at this level but to be fair, how many actually use the included tips?



The case is quite big, and certainly too large for the average pocket. I’m not sure why brands make cases this large as you can’t fit anything else other than spare tips and a cleaning cloth… I did try to squeeze in my Hiby R3 MKII but couldn’t quite get it to close along with Oracle MKIII – a shame as that would have been handy for the office etc.

Cable

The cable has a bit of weight to it and finished with a nice relatively soft rubber texture. It has what I would consider a ‘normal’ level of microphonics – nothing excessive, I’ve gone on many walks over the last couple of weeks with Oracle MKIII and wasn’t bothered by cable feedback.



The modular system is very straightforward and while it doesn’t have a locking mechanism, the connection is very sturdy and I haven’t had an unintended disconnections. Along with the standard 3.5mm and 4.4mm, you also get a 2.5mm which is interesting to see.





The cable terminates to 2-pin.



Design and Fit

The shells are reasonably large and I imagine made from a resin, probably 3D printed, I can’t see any reference to this in the specifications. They are relatively light and feature smooth edges that sit very comfortably in my ears.



There is a slight recess to receive the 2-pin connectors, something I always hope to see and find many brands neglect, instead having a flat 2-pin socket… so bravo to Thieaudio to this small but important aspect! Along with the included cloth, we are on a roll…



There is of course a vent on the shells which means no dreaded pressure build.

Listening Impressions

Its funny the various first impressions that can occur when you plug in a new set for the first time – that moment where you ponder what track to choose first, and indeed what source if like many of us in the hobby, there are a few options to reach for. It can be anything from ‘hmm’ to ‘very nice’, to ‘wow’ – the ‘hmm’ isn’t always a bad sign, it can be simply that my head hasn’t quite deciphered what I do or don’t like, or maybe a bit of brain-burn needed having come from a very different set. Anyway, in the case of Oracle MKIII, it was clearly a ‘very nice’ – this is a set that I found immediately engaging and captivating, featuring a smooth and natural sound with a nice touch of warmth. I’ve worked my way through countless ‘shelves’ of my library over the last few weeks and there has been excellent synergy with any genre I try.

The driver configuration in Oracle MKIII has become a very popular mix, albeit in various different counts of each driver. In this case, we have 2x DDs, 2x BAs, and 2x EST.

Low Frequency

Thieaudio describe the implementation of their ‘IMPACT2’ subwoofer system via the two dynamic drivers, leveraging an isobaric design which enhances sub-bass performance with improved efficiency, while reducing any distortion. I’m a sub-bass guy, not that I don’t appreciate a nice mid-bass slam, but when choosing one or the other, I will mostly choose a deep sub-bass rumble… and surprise surprise, that is exactly what is delivered here… BUT, you do also get an excellent amount of mid-bass too – I have found this is often the case with 2x DD implementations, allowing both areas to really shine. The combination of both certainly inject the overall tuning with a sense of warmth and weight, but yet not to the detriment of speed and clarity. While maybe not at bass-head levels for the most die-hard of this bunch, I would be surprised if most aren’t more than satisfied here.

Midrange

Thieaudio mention how they retain the monitor style tuning here, with an emphasis on neutral mids that deliver a clear and detailed presentation – again, probably a tuning preference for me for the most part, especially in a set that sits more as an all-rounder. As noted, the bass does set a foundation of warmth in the overall tuning, yet the mids still maintain a mostly neutral profile with excellent levels of detail and imaging. Upper mids stay within a very safe zone, I can’t see this region being a problem for anyone. Listening to ‘Orlando in Love’ by Japanese Breakfast, a track that features on their latest album, and I find the vocals are sat perfectly central, maybe slightly forward but not obviously so – there is a good sense of weight and realism.

High Frequency

I’ve read comments that the MKII iteration of Oracle could get a bit spicy in this region, and it became an area for Thieaudio to address in the MKIII. I’m not particularly treble sensitive, and can’t comment on the MKII having not heard them, but certainly no issues for me over the last few weeks with MKIII – I haven’t had a single moment with any track, from any genre where I picked up anything remotely harsh or shrill. There is excellent extension in this region, with a nice sparkle and captivating sense of stage dispersion. There is certainly a treble focus, in a similar way to the low frequencies, giving an overall somewhat u-shaped signature to the overall tuning. As always though, this can be an area of risk for some and many factors ultimately dictate the outcome – source, choice of music, tips, ear anatomy, age… etc!

Technical

I wouldn’t consider Oracle MKIII to be a set that focuses on technical precision, overall I find the emphasis to be on musical engagement. That said, certainly no slouch either, offering an impressively wide stage, excellent imaging with clear instrument placement and detail. The overall presentation has a excellent sense of coherency, with nothing sounding out of place. The clarity in the mids also ensures that there is never any congestion or harshness.



Comparison

FIIO FH19 (dual DD, 6x BA - $599)



The FH19 is another excellent set and the most immediate difference I hear when I switch is a more energetic signature, everything feels like it steps forward and even the treble sounds more lively, I think due to the smooth/visceral sensation from the ESTs in the Oracle. The stage feels smaller in FH19, technical performance otherwise quite close, but I’d give the edge to Thieaudio. The mids sound more pronounced on the FH19, I think largely due to more extension in the upper mids which are quite noticeable with female vocals in particular. Broadly, switching between the two sets the most apparent macro difference is a smoother overall profile for Oracle, versus a more energetic and lively or ‘fun’ tuning on the FIIO.

The FH19 shells are slightly smaller and a bit heavier, but I’d say comfort levels overall on par. That said, I do have reasonably large ear canals and can generally tolerate large shells – unless they have longer nozzles, which can be a problem. FH19 comes with a far greater array of accessories, with numerous tips and various other bits and pieces such as cleaning brush, cable clip to name a few – FIIO of course well known for their generous selection of accessories.

DUNU DK3001BD (1x DD, 4x BA, 4x Planar - $499)



This was one of my favourite sets from 2024, and unfortunately been neglected so far in 2025 due to lack of time to revisit sets that aren’t in the review queue.

Similarly to the previous comparison, the first and most obvious difference I note with Braindance is a step up in energy, but in this case also a step up in overall detail – the energy in FH19 goes in a more lively and fun direction, whereas here we switch to more analytical. At first sounding slightly sterile in comparison, but once my brain settles in I can’t help but be wowed all overall again by the technical performance on offer here… and indeed when switching back, Oracle MKIII at first sounds a bit veiled in comparison, the drop in detail precision is immediately obvious, but with a couple of minutes I’m again captivated by the sense of smoothness, cohesiveness and overall musicality.

Again, the range of accessories on offer with the DUNU are on another level - DUNU in the same way as FIIO always known to bundle a huge selection of accessories.

Side note, definitely need to spend time with the Braindance again soon...

Conclusion

My first proper exploration into the world of Thieaudio through the Oracle MKIII has been very rewarding, and certainly highlighted why Thieaudio is such a popular brand in the community. This set captivates with its smooth, cohesive tuning, excellent bass, clear mids, good EST visceral sparkle, and a natural warmth that is equally suited for a wide variety of genres. Combined with thoughtful design elements and impressive comfort, the Oracle MKIII strikes an excellent balance between technical competence and sheer musical enjoyment.

I would like to thank Lili from Linsoul again for the opportunity, delighted to have finally dipped my toe into the world of Thieaudio.

Softears ‘Enigma’ – The final piece of the puzzle?
2x DD, 6x BA, 4x EST
RRP: $3,699



Introduction

It is probably somewhat fair to say that I am a self-proclaimed Softears fanboy, and this is mostly due to the wonderful Turii Ti which remains my ‘GOAT’ single dynamic driver three years later – to really underline this point, my love for the Turii Ti at the time actually led to me parting company with both the Traillii and Jewel, a brave move but not one I regret… for the most part, I have debated dipping back to the Traillii at times. I have also owned and loved the excellent Twilight, and most recently had the pleasure of becoming familiar with both the Volume S and Enigma – I published a review for Volume S a couple of weeks ago, and intend to wax lyrical about Enigma in this review.

Softears sent me Enigma at a reduced price in exchange for a review, as always, all thoughts and words my own. Thank you to Softears for the opportunity!

Enigma is available from a variety of stockists, to include Musicteck HERE

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Softears (from their ‘About Us’)

A Chinese brand focused on technology, R&D, and innovation Is a young but experienced company. The founder started working in audio in 2014, the studio was founded in 2017 in Shenzhen, China’s Silicon Valley, and in 2019 set up an independent lab for R&D and our own factory in Chengdu, a Humanistic City. Softears wants to bring you a soft and comfortable, balanced and durable listening experience. We are committed to research and development of loudspeakers and tuning equipment, with excellent manufacturing process and excellent quality control, pride in excellence is our brand way. We pour all these efforts to make ourselves capable of producing a true hi-end product meticulously, we swear by it.

Specifications:

Sensitivity: 121.5dB/Vrms@1kHz
Effective FR: 20-20kHz(IEC60318-4)
Frequency Response: 8-42kHz(1/4inch Free field microphone, -3dB)
Impedance: 10Ω@1kHz
THD: ≤1%@1kHZ
Chamber:
Five axis machining of aluminium alloy with reinforced material anodic oxidation



Unboxing

I have encountered quite a few very special unboxing experiences with accessories to match in the last few years, and the Enigma is up there with the best, perhaps the best. I know this doesn’t matter to everyone, and many just like to cut to the chase… not me, I am an absolute sucker for a premium unboxing experience!

Once the outer box is opened, you then have a whole selection of trays that house each item in the box. Very unique and really adds to the whole experience... if you are that way inclined.



Accessories

• Leather case
• 1x 3.5mm Softears cable
• 1x 4.4mm Softears + Effect Audio cable
• Selection of tips – 3 varieties in S/M/L (UC silicone, foam, and grey silicone stock tips)
• 6.35mm adaptor
• Cleaning cloth
• Enigma mould (no idea why, but an interesting addition!
• Enigma puzzle (I have yet to assemble this, maybe bring on holidays with me in the summer… it feels like something I might enjoy with a beer in the sunshine!)

I must say, I was surprised they don’t include a protective mesh – you get one with Volume S, Turii Ti, and Twilight, and definitely an accessory I always use – I like to think the IEMs are protected when not in use.

Cables

In the box you’ve got the stock Softears cable which is a nice black finish with a slight rubbery texture – this is 3.5mm and from memory, the same or very similar to what comes with Twilight.



In addition, a collaboration with Effect Audio which is a 2 wire 7-strand 24 AWG terminated to 4.4mm. The cable is of about medium thickness, not too heavy and only a small amount of microphonics. I believe this sells separately for over $1,000 making it quite a premium cable. I’ve been using this cable mostly since Enigma arrived as I prefer to leverage balanced with my sources.







Case





The included case is an unusual choice as it is quite large, and certainly too large to carry just Enigma – it appears to be aimed at carrying both a DAP and IEMs, but I think a large number of DAPs on the market today will be too big in terms of height. As it happens, my recently acquired Lotoo GT2 actually fits perfectly, almost as if this case was made for the GT2 – I can then also fit Enigma and some other bits and pieces such as the cleaning cloth, a USB cable, and the LTTP wireless dongle for the GT2.



The case is built to a very high standard, with real leather and a nice soft interior. The button closure feels secure and robust. It looks beautiful and I’ve no doubt a case like this sold separately would have to be north of at least $100.



Design and Fit

This was an aspect I was somewhat nervous about from looking at photos of Enigma before it landed with me – they looked quite large, and the nozzle wide and possible long – on arrival and when in my hands, and indeed my ears, thankfully this is not the case and they are surprisingly compact and light considering the number of drivers housed – I think the design on the outer shell might give an impression of being larger than they actually are.



The specifications note ‘five axis machining of aluminium alloy with reinforced material anodic oxidation’ – now I had absolutely no idea what that actually meant, but decided to lean on the wisdom of co-pilot for an explanation, here’s the answer which I found quite interesting!

Five-axis machining: This refers to an advanced manufacturing process where a machine can move a cutting tool or workpiece along five different axes simultaneously. This allows for highly precise and complex shapes to be created, which is ideal for crafting intricate designs like the shells of an IEM (In-Ear Monitor).

Aluminium alloy: The material used is an alloy of aluminium, which combines aluminium with other elements to enhance its strength, durability, and other properties. Aluminium alloys are lightweight yet sturdy, making them a popular choice for audio equipment.

Reinforced material: This suggests that the aluminium alloy has been further strengthened, possibly by adding specific elements or treatments to improve its structural integrity and resistance to wear.

Anodic oxidation: This is a surface treatment process where the aluminium is subjected to an electrochemical reaction to form a protective oxide layer. This layer enhances corrosion resistance, durability, and aesthetic appeal. It can also be dyed to achieve different colours, adding to the visual design of the IEM.



The design on the shells is very tastefully done in my opinion – nothing bling or in-your-face, yet still has a very unique, futuristic and eye-catching finish. The Softears logo is sat on an ‘artificial sapphire glass’ – not quite sure what the ‘artificial’ bit means, but still like to assume it provides a similar level of robustness as when used with watches. I’m quite mindful of this glass exterior, and always cautious when placing on a table but I’m probably being overly nervous.



The aluminium finish has an incredibly smooth feel and while not massive, they are a large-ish IEM. That said, I have absolutely no problems with fit and can wear for extended periods. The cables terminate to a flat 2-pin connection – as always, I’d prefer to see a bit of a recess here as they just feel more secure.

I’ve tried a number of tips over the last few weeks, and most recently landed on what I think are my favourite now, the excellent ‘Baroque’ from Eletech. My ear canals are on the larger side, but the large Baroque fit perfectly and very comfortable.



Overall, I think they look great, and very comfortable with an overall finish befitting of a set at this sort of price point.

Listening Impressions

I’ve been listening to Enigma with a variety of DAPs over the last few weeks, but most of my time has been with the Lotoo GT2. Enigma is easy to drive, and will work happily even with something like the Hiby R3II at the other end of the price spectrum.

Enigma is an incredibly balanced set, maybe the most balanced at the higher end of IEMs that I’ve tried. Also a highly competent set from a technical perspective. This is a wonderful recipe for me, as I tend to lean towards more balanced sets – I’m not a bass head, nor do I tend to appreciate too much colour in the tuning. That’s not to say Enigma has no colour, there is a touch of warmth which allows more than enough emotion, but certainly overall the theme is balance… I guess fair to say you get to hear the music perhaps in the way it was recorded, nothing is accentuated or over emphasised.

Low Frequency

As I type, I’m listening to ‘Say Cheese (Siberian Tiger Cookie Mix) by The Orb – trust The Orb to have quirky titles, and I had to jump on the opportunity to mention this track as I hit this section of the review…. Why? – bass of course! This track has a wonderful bass line that pulses along throughout, a dub vibe in very typical playful Orb style. This element of the track jumps out, and it represented wonderfully on Enigma – the balance is demonstrated, and the bass to my ears sounds perfect. It has texture, it sounds visceral, and has that sensation of being able to feel it – the 2x DD implementation does it’s trick of sounding like a subwoofer, distinct and separate, yet still very much part of the whole. Flipping to the mid bass, and loading up ‘Wellenbad’ by Der Dritte Raum, there is ample heft and definition, a good sense of impact but again still sitting in the mix with wonderful balance. For my ears and I suspect anyone who isn’t a self-declared ‘bass-head’, the bass is represented with fantastic accuracy and presence – but may not satisfy those of you that have a preference for larger bass volumes.

Midrange

Clear, precise, detailed and within the overall controlled nature of the presentation – again, ‘balanced’! As noted however, there is a touch of warmth here that keeps things from being sterile or clinical. The mid frequency seems to occupy a rather large sense of space, listening to the likes of Agnes Obel ‘Fuel to the Fire’ I could be fooled to think I was listening on full-size headphones, the sound is vast and definitely emanates from the centre of my head, spanning out to a wide spacious field. This large space comfortably accommodates any number of instruments in the most complex or energetic of arrangements. As you would expect at this level, congestion is absolutely never a consideration. There is a sense of smoothness to the mids also, which really lends itself beautifully to how vocals or more intimate instrumental passages are portrayed – in spite of the balance as I’ve said, this is not to the expense of emotion.

High Frequency

It won’t come as a surprise when I say the word ‘balance’ yet again – the theme of course continues… the upper frequencies are again kept in check, sitting level with the mids and bass – treble heads might be left wanting here as while there is good air and sufficient zing when required, some might seek some more extension in this region. For those who appreciate the sort of balance that I’m describing, you get the same sense of realism in my experience as you do with the bass, these frequencies will be well represented based on how they feature in the music. The ESTs do a great job in creating that sense of stage expansion, and allowing details to really pop with a somewhat ethereal sensation.

Technical

Enigma has the ability to sound like a set of full-size open headphones – incredibly impressive stage in terms of the quality of imaging, sense of 3D placement and overall clarity and detail. That mix of balance and technical competency really does equate to a magic formula for my ears, never fussy on the choice of genre – definitely a set I’d categorise as a spectacular all-rounder. As always though, your choice of tips definitely matter so I’d encourage some good-old tip rolling should you choose to invest in this set – I’ve found the Baroque tips really do allow Enigma shine in a way that no other tips have.



Tracks

Candy Says – Lord’s Mistake



This is a great example of a song that truly does make Enigma sound like a set of highly-competent open back headphones – it is actually quite incredible to realise what are actually in my ears when listening to this. The vocals are sitting central, with accompanying instruments spread out over a wide field – the precision of imaging is honestly mind blowing. Timbre sounds wonderful, the realism of the guitar strumming to the intimacy and presence of vocals send shivers through me.

Kid Spatula – Nadsys



Mike Paradinas returns with his first album recorded under this name for 20 years. Yet again I’m immediately struck by the sheer sense of space as the track progresses, the atmospheric synths sound like they are in the room with me, soaring out and filling the room. The complex percussion is fast and chaotic, and Enigma handles with ease – capturing every detail.

Hania Rani – Don’t Break My Heart



Hania’s voice kicks this off, and immediately grabs hold of me – the sense of realism is impeccable, every little nuance from her taking a breath, to the accompanying backing vocals, to the incredibly captivating moments when her voice hits an emotive peak. The percussion sounds delicate and again beautifully detailed – the synths and piano so utterly distinctive and lifelike.

Virgo – Foggy Hill



This was just released in March and getting regular play – likely to be in my top electronic albums for 2025 already! I would file this album with ‘Detroit techno’ on a shelf, wonderful melodic electronic music with playful emotive synths. Kick drums are landing central and with excellent definition – the synths again occupy a large space with many layers of detail. I’d probably prefer a set like the IE900 for a track like this as I like a bit more bite up top in the percussion, but Enigma does an excellent job and really a bit of hair-splitting.

Jun Fukamachi – Morning Glow

https://wereleasewhateverthe****wewantrecords.bandcamp.com/track/morning-glow

Track link - HERE (F-word braking the embedded link above!)

The opening track to the relatively unknown but excellent ‘Nicole (’86 Spring and Summer Collection)’. Originally featured as the music for a fashion show in Japan in 1986 where guests were handed a copy on vinyl – it quickly became quite rare and sought after, only reissued by the excellent ‘WRWTFWW Records’ label in 2017. The piano is captured really beautifully with again such wonderful realism – the synths are delicate and captivating and overall leaving me with that feeling I often end up in when listening to tracks for a review… a desire to step away from the laptop and just keep enjoying the album! This album is truly fantastic on Enigma.

Studio – Out There



Another album that has had a recent reissue, but in this case much more recent. This opening track is just shy of 16 minutes, and is quite an epic journey through a variety of genres that are masterfully woven together into one track. The opening segment of guitar, synths and percussion are a real aural treat on Enigma, that fantastic sense of space and 3D imaging really coming to the fore – you can really zoom in on various elements so clearly, and as instruments are dropped and reintroduced, you can literally pinpoint and almost feel the location in your skull. I’ve loved this album since I originally bought it probably around 15 years ago, and so incredibly enjoyable to hear it now on Enigma. I encourage a listen dear readers on your most competent set!

Comparison

This is a placeholder – I will be updating in a couple of days with a comparison to Nostalgia Audio ‘Camelot’ – a firm favourite of mine for over two years now. I’m away from home, and Camelot not with me but I wanted to publish the review anyway as a busy week ahead! I’ll reply in the review comments once I’ve added.

Conclusion

I must say I’m perplexed as to why Enigma hasn’t had more attention – maybe the balance at this level isn’t for everyone, the trend of late does appear to be sets that really excel in a specific area – balanced sets can end up with a ‘boring’ label as they run the risk of not being sufficiently exciting in terms of the bass performance, or the treble energy levels up top. Enigma does not seek to meet these demands, instead speaking to those who prefer a fairly level playing field from the lows through to the highs – again to emphasise, not to the detriment of emotional connection, as Enigma comfortably portrays this to the extent it exists in the music. The overall tuning direction with this balance, some nice warmth, incredible technical capability with that headphone-like presentation all stack up to a wonderful overall package for those of you that value this tuning profile. Personally, Enigma has set a new personal benchmark and could easily be a ‘final piece of the puzzle’ IEM for me… the show of course must go on, at least for now…

Lotoo Paw Gold Touch 2 (GT2)
RRP: $3,200



Introduction

This hobby is often about swings and roundabouts, or indeed wild rollercoaster rides – that being the dramatic and emotional journeys we take – in pursuit of ‘perfection’, we save our cash to move up the audio food chain, often selling already cherished/prized items in our collection… depending on my mood, I can describe this as utter madness, or the love of the hobby – it’s probably a mixture of both. Anyway, you are probably wondering why I’m starting on this note – well this is a direct reference to when I decided to part with my beloved LPGT Ti last year, a sale I pretty quickly regretted even though I was very much in love with my newly acquired Sony 1ZM2 – the LPGT Ti had been an upgrade from the LPGT which I owned and loved previously, and I honestly never thought I would dream of selling the beautiful Ti version – but yet it happened!

When I started to hear murmurs of an LPGT ‘2’ I was of course immediately intrigued, and waited patiently (not really…) to hear more about it. Fast forward to I think sometime in November last, and one morning the news dropped – Lotoo announced the ‘GT2’… mega excited, I quickly rushed to the product page – and then… oh, it has a hump?! – This sentiment was shared by it seemed most who like me were excited about a replacement to the legendary LPGT – the classic simple design that while it had a bit of weight to it, was still a reasonably small device compared to many other flagship DAPs – this new offering had a sort of ‘humpback’ which to be honest, just didn’t look attractive. The logic was clear however, the revised Gold Touch had been given quite an injection of power, sort of like going from a standard BMW 3 Series to an M3, or an Audi A4 to RS4 depending on which German car you prefer! I was definitely disappointed, and while I didn’t proceed with a purchase, I sort of knew it would happen at some point – my appreciation and memories of the LPGT and Ti version still held firm, and it was really a question of ‘when’, not ‘if’.

Later in December, having read impressions from those early adopters, I could no longer resist – even having also just bought the iBasso DX340, I took the plunge on the GT2. There were some shipping issues around Christmas, and I didn’t ultimately get it in my hands for another couple of weeks – but as the saying goes, ‘good things come to those who wait’ – and that certainly rings true, as this review will cover.

I purchased the GT2 from Musicteck at a reduced price in exchange for a review. As always, all of the content in this review is from me, and without any input from Musicteck or Lotoo. I would like to thank Musicteck for the excellent service as always.

The GT2 is available from Musicteck HERE



About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Lotoo

Lotoo, founded in 1999, is the professional audio brand of Beijing Infomedia Electronic Technology Co. ltd., Lotoo has the top level professional audio technology R&D team in Asia.

Over the years, Lotoo has been committed to providing the world's highest levels of professional recording and playback products. Products are exported to the United States, Canada, Singapore, Korea, Japan, Switzerland, Germany, France, Poland, and Spain, Finland and other more than 30 countries and regions.

Specifications:

Screen: 800x480 4-inch touch screen
Weight: 388g

Audio Specifications(Headphone - 4.4 mm balanced)
Max output level +20.3 dBu (S Mode)
Max output power 1000mW/ch (32Ω load) 620mW/ch (100Ω load) 210mW/ch (300Ω load) 104mW/ch (600Ω load)
Channel Isolation 122dB
Freq Response +0.006/-0.04 dB (20~20kHz)
SNR 133dB (20~20kHz, A-weight)
THD+N 0.00013% @1kHz (20~20kHz, A-weight, no load)

Audio Specifications(Headphone- 3.5 mm unbalanced)
Max output level +14.2 dBu (S Mode)
Max output power 460mW/ch (32Ω load) 156mW/ch (100Ω load)
Freq Response +0.004/-0.05 dB (20~20kHz)
SNR 129dB (20~20kHz, A-weight)
THD+N 0.00020% @1kHz (20~20kHz, A-weight, no load)
Min Noise Level 0.8uV

Unboxing

Lotoo products arrive with the same themed branding, one which I would certainly describe as premium and somewhat understated. The packaging looks and feels high-quality, yet doesn’t scream bling. It has a very tasteful finish to the packaging that certainly injects a sense of excitement for me when I lay my eyes on it!



On removing the outer sleeve, there is an inner box to further open before reaching your new toy GT2 which sits in a soft tray – caution urged here to not let it fall out, as it’s only its weight that keeps it in place.



Accessories

In the box you get:

• Excellent quality leather case (you will definitely want to use this)
• 2 screen protectors – there isn’t one attached out of the box unfortunately (and one of mine arrived cracked… ☹ )
• USB A to USB C cable
• Cleaning cloth (I love the Lotoo cloth!)

Design

Lets get straight to the elephant in the room – the hump. While not the most attractive looking, it is actually very ergonomic once in your hand – the hump actually provides a good grip, and while larger than the original LPGT, I actually find it sits more comfortably in my hand – however not in my pocket as it’s a touch (pardon the pun) too large for the average pocket… and probably too heavy at just shy of 400g. It is a big device, and it is a heavy device, so for the most part, not really a DAP that is truly portable in terms of maybe going out for a walk… I guess it depends on how big your pockets are!



I must note, the device without the case is actually very smooth and as such quite slippy – for this reason I keep the case on at all times… absolutely not taking any chances dropping such a prized possession. I took it off to take photos for this review and the metal feels glorious, but likewise I just don’t feel I’ve sufficient grip. Being made from aerospace-grade aluminium, it should be pretty durable. Also, the 4” screen employs Corning Gorilla Glass 5 so should also be pretty robust but absolutely still advisable to make sure you apply a screen protector.

Above the hump you have the 3.5mm and 4.4mm inputs – these both serve also as a line out option.



The classic and very beautiful volume wheel remains unchanged – this looks and feels stunning, I love the tactile sensation and ‘click’ when you adjust, and the wonderful pulsing light that emits from the underneath – although I had to switch that off, as my wife wanted to know what light was flashing when I listen in bed at night… perhaps I need to get my own room.





The buttons are laid out on the right side and easy to access, both with the case on or off. The power button needs to be held for a few seconds to power on, ensuring you don’t do this accidentally.



On the bottom of the device you have the USB C power input and the SD card port – interestingly this is still a full size SD which at first I thought was odd, but actually in using it is far easier to insert or eject versus microSD in other devices which I often find quite finnicky. So a big thumbs up here for sticking with full size. I’m using a 1.5tb card at the moment, but intend to upgrade to a 2tb soon – I have read of other owners using without issue.



The USB C port also serves as a mean to transfer files, and a USB-DAC – upon connecting the USB cable, the device prompts you to choose what you want to do, most often in my case for transferring files from my laptop which it does without any issues.

A selection of photos to follow that demonstrate the GT2 in hand. Oh and yes, I know my deck needs a varnish... on the list!











User Interface

Important to note here to those of you who might be new to Lotoo – the GT2 or indeed any Lotoo device do not use Android, instead using their own OS (operating system) and this does not feature any streaming services – Lotoo are about local files only, plain and simple… unless you hook up the LPTT device, but even still, that is a solution that allows you stream from another device so if you mostly use streaming services, this device is definitely not for you – if like me you have amassed a large collection of files such as FLAC over the years, this device is absolutely for you.



If you have owned or used the original LPGT, the experience with GT2 is pretty much the same, albeit with the addition of the ability to connect the (excellent) LPTT device which was bundled as a free gift for launch last year, but now sells for $110 – a bargain given that it then allows you to stream to the GT2… I’ll come back to that device later.

The Lotoo UI is incredibly intuitive, fast, and easy to navigate. The device boots up when you power on incredibly quickly (about 3 seconds), and loads the entire contents of your SD card in less than 10 seconds (remember, I have a 1.5tb card loaded up) – so from powered off to on, and playing music in less than 10 seconds.

I recorded a short video to give a quick overview of the UI, and also to illustrate the speed of which it boots.



I am quite old school when it comes to browsing for music on DAPs, even with Android DAPs such as my Sony 1ZM2, I still mostly use the folder methods – I’ve had a system for probably about 20 years now where I create folders for each genre of music, and then often folders for more recently loaded music – for example ‘March 2025’ or something – handy for quickly finding recent additions to my library.



Battery

The 8300mAh battery provides up to 10 hours of playback, this for me feels like a bit of a downside when I compare to my Sony DAPs but I do appreciate it is pretty standard for most DAPs that aren’t Sony basically! I find I probably get close to the advertised 10 hours, or perhaps a bit less. It takes quite a while to charge also, while I’ve not actually timed a charge, I would estimate in the region of 3 hours – again I’ve been spoiled with Sony as the likes of the 1ZM2 only takes about an hour – how do Sony manage this with their batteries?!



Power

The GT2 provides double the power of its predecessor balanced at 1000mW on ‘Super High Gain’. This is a big jump, and even though I’ve not had the LPGT Ti for a number of months, the increase in power is abundantly clear – the GT2 can drive absolutely anything in my collection without breaking a sweat. Single ended provides up to 460mW, so no slouch here but worth noting that the LPGT Ti actually provided more power single ended, with a whopping 700mW if I recall correctly – probably the only DAP on the planet that offers more power single ended?

Accessing the gain settings is easy, as is any function you care to choose on this glorious DAP. Swipe down from up top, and choose either 3.5mm or 4.4mm, and make your selection.

Listening Impressions

I absolutely loved LPGT Ti, and the OG before it. Lotoo are known for the more neutral tuning, that really zoomed in on detail, with a pitch black background and massive stage – with the GT2 you get all of that, and more – first of all the aforementioned power that not only drives more hungry headphones, but provides a huge extra dose of dynamism and an energy that’s delivered with finesse. There is a touch of colour here too – not to the detriment of the neutral tuning per se, it just seems to add a further degree of emotion to the tuning. I did an A/B while listening to the Softears Enigma recently vs the Sony 1ZM2 – there was a noticeable increase to the level of detail and stage size, coupled with a fantastic level of clarity – I still love my gold Sony btw and it’s not going anywhere, but the GT2 takes the top dog spot in my DAP collection.



There is a lift to the bass that is done incredibly well – it has utterly fantastic control, and I find this is really evident while listening to the stunning ‘Composer’ headphones by Austrian Audio where kick drums hit hard with excellent definition and impact – it sounds like I’m listening to a high end desktop solution. Likewise ultra clear, highly detailed and distinct mids, with again wonderful control up top for treble – the GT2 simply shines a spotlight on each element of the tuning of your chosen earphone/headphone/buds. The sense of space, detail, layering is utterly spectacular, and all the while with that super black background. For me the tuning is honestly perfection – a breath-taking combination of the original neutral performance, with that touch of colour and bass lift.



Something relatively unique about the GT2 is that no matter what IEM, buds, or headphones I reach for, the synergy just always seems to be perfect – it’s a DAP that allows basically anything I plug into it sound at what seems to be their best. I don’t think I’ve ever had this with a DAP before.

One of my absolute favourite combinations of late has been the GT2 and Softears Enigma – the Enigma really performs at its very best with the GT2, and I look forward to sharing much deeper thoughts on this fantastic IEM in my next review.

Note - the below case is supplied with Softears Enigma, and actually a perfect case for the GT2 along with space for a set of IEMs and the LTTP accessory.

LTTP

I haven’t really used this up until putting pen to paper recently for this review… however, having now experimented, I can see it getting more of my time.

Incredibly straightforward to use – plug into your phone using the supplied USB C or lightning adaptor, and navigate to the LTTP – it connects very quickly, and voila – you can stream your chosen audio from the phone (or another DAP?!) and listen via the GT2.



I might have liked some sort of visual to show you are streaming but a nitpick really.

Conclusion

Simple and understated, yet elegant and premium - it’s minimal, yet oozes class. Don’t mind the hump, in fact embrace it in all its ergonomic glory, knowing that there is a powerful and highly refined engine under the hood, ready to serve your every listening need. Lotoo managed to retain the impeccable detailed tuning of the original Gold Touch, and add not only significant power, but a touch of colour too that in my experience might win new fans, while continuing to amaze the existing loyal fanbase. In addition, they tastefully tuned the bass to add some extra heft, but still in keeping with the overall finesse.

The only thing that could trigger another emotionally traumatising journey would be the release of a Titanium version (GT2 Ti - it again sounds like an upgraded edition of a powerful sports car!) - a wonderful prospect, but hopefully a couple of years away!

Massive round of applause to Lotoo for this fantastic creation - the beauty is in the beast.

FIIO BTR17
RRP: $199



Introduction

I’ve had the privilege of working with FIIO on a number of products over the last few months, everything from the excellent FA19 IEMs, to their wonderful TT13 turntable, and probably one of my favourite gadgets from 2024, and the subject of this review – the BTR17.

FIIO have been on a roll over the last year or so in particular, with a relatively constant stream of exciting new products coming to the market – and even with this pace, there is still clearly a considered R&D process along with some publicly declared ‘experiments’ such as the CP13 portable cassette player, clearly not a product that is going to sell in huge numbers but FIIO dipping a toe in the water none-the-less and I really admire this about them.

FIIO sent me the BTR17 in exchange for a review, as always, all thoughts and words my own. Thank you to FIIO for the opportunity, always a pleasure to try out the new and exciting products brought to market.

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

Specifications:

• USB chip: XMOS XU316
• USB DAC: 768kHz-32bit, DSD512 native, MQA full decoding
• USB DAC driver-free mode: Supported
• Bluetooth chip: QCC5181
• Bluetooth version: 5.4
• Bluetooth formats supported: AAC/SBC/aptX/aptX Adaptive/aptX Lossless/aptX HD/LDAC
• DAC: ES9069Q*2
• Display: 1.3-inch 240×240 color IPS Battery life: About 8 hours (LDAC)
• Charging time: ≤2H
• Headphone outputs: Single-ended 3.5mm + balanced 4.4mm
• Output power 1: L+R≥280mW+280mW (32Ω/THD+N＜1%/single-ended/desktop mode)
• Output power 2: L+R≥31mW+31mW (300Ω/THD+N＜1%/single-ended/desktop mode)
• Output power 3: L+R≥650mW+650mW (32Ω/THD+N＜1%/balanced/desktop mode)
• Output power 4: L+R≥125mW+125mW (300Ω/THD+N＜1%/balanced/desktop mode)
• Output power 5: L+R≥300mW+300mW (32Ω, THD+N＜1%/balanced/non desktop mode)
• Output power 6: L+R≥140mW+140mW (32Ω, THD+N＜1%/single-ended/non desktop mode)
• Signal-to-noise ratio: ≥126dB (UAC decoding, desktop mode, A-weighted)
• THD+N: ＜0.00035% (UAC decoding, desktop mode, balanced output)
• Dimensions: About 16.3×41.2×86.6mm
• Weight: About 73.4g

Unboxing & Accessories

Not a whole lot to say here other than the packaging is of high quality and I’ve noted the branding has a more premium edge in terms of the brand logo, artwork etc over time.





Accessories

You get all you need to get up and running with the exception of an additional USB cable to enable power for desktop use.

The supplied USB cable is very nice, it looks and feels premium. It is quite short but I guess enough length to allow for hooking up to a phone and not having excess cable sitting loose in your pocket. I use it quite a lot hooked up to my laptop and the dongle sits conveniently beside.



Case

The supplied case is really nice, and gives off vibes of leather cases for mobile phones maybe back in the late 90s or early 00s. It again has a premium look and feel, and includes a belt-clip which is rather handy. I find myself in the situation however that I like the case off so I can admire the equally retro design of the BTR17 – on the flip side, always eager to protect the device so the case remains on more often than not.

Design

Before I knew absolutely anything about the multiple ‘Swiss-Army knife’ functionality of the BTR17, it was the rugged retro industrial style that really grabbed my attention – in particular the volume knob really caught my eye. Likewise the leather-like finish of the back of the device, reminiscent of a bygone era of radios or Walkman of the 80s and 90s maybe?



The build quality is fantastic, and it feels both robust and ergonomic in your hands. Likewise easy to access both the buttons on the side, and the volume wheel up top – this also acts as a mechanism to make selections by pushing it in. The volume wheel feels good and sturdy too, albeit with a somewhat loose but tactile response when adjusting.



The device is very compact so easy to pop in a pocket and not notice it’s there – I’ve used a lot for out walking with it hooked up via Bluetooth to my phone which might be in my jacket pocket, and the BTR17 in a jeans pocket. It’s one I look forward to using as the summer months arrive too as it will be very convenient to pop in the pocket of a pair of shorts.



The top of the unit has both the 3.5mm and 4.4mm terminals -

And on the bottom you have the USB connection and desktop power -



Features

As noted above, the BTR17 is truly the Swiss-Army knife of dongles, offering multiple choices for a variety of use-cases.



The obvious choice here is Bluetooth and I’ve found myself using this a huge amount in a variety of scenarios… I love the flexibility on offer, and almost wonder what life was like before…

Hooked up to my laptop while working or browsing Bandcamp, allowing me to get up and make a coffee, pour a glass of wine etc, but keep my IEMs in my ears and the BTR17 in a pocket

Out and about walking and connected to my phone – while I often use one of my smaller DAPs in this scenario such as the Aune M1p, there are times where I just want to stream a podcast, Tidal, or Audible but still want to use a set of IEMs rather than TWS.

A new use-case for me since the BTR17 arrived is connecting to my TV either later at night or early in the morning – I often wake before the rest of my family, and very handy to enjoy IEMs or headphones for TV listening, something I’ve not done for years.

DAP or phone on my bedside locker, and the BTR17 along with whatever IEMs I’ve chosen to listen to in bed while I drift off to sleep – I feel less worried about having the FIIO in bed versus my phone or more expensive DAPs

Oh and connected to the FIIO TT13 turntable, and listening to vinyl while sitting at my desk!

Plus no doubt many more…



You then of course have the option to hook the BTR17 up directly to whatever device by using the included USB cable – so basically the first two scenarios above, the 3rd might be tricky – and indeed for number 1, you would have to take the laptop with you when moving about the place to keep that same logic in place! Anyway, you get my drift.

You then also have ‘PC’ mode which allows you to connect via USB directly to a computer – I’ve done this with both Windows and Mac, and the BTR17 appears immediately as the sound device.

Desktop mode allows you to power the BTR17 via the dedicated USB-C port to crank up the power to a very impressive 650mW @ 32ohms balanced – that’s a lot of power for such a small device. I’ve had the likes of the relatively hungry HD650s connected and plenty of power to drive them… of course they can scale with power, but I don’t think most would be in any way upset in this configuration.



The screen/UI is intuitive and easy to navigate – pressing and holding the volume wheel provides access, and you then scroll through the various options and press the volume wheel again to make your selection. There are several options here to include a variety of filters, sound modes, gain (low/high) and various other device settings.



While the screen is small, it is very clear and easy to distinguish between the various options. My aging eyes are fine with it, so I can’t see being an issue for anyone.



FIIO always supply a content rich document for reviewers which includes important information such as specifications, and dives deep on the product features. I’m going to paste some of this detail in a spoiler below, as I feel it is very useful content and some might enjoy.




Listening Impressions

I decided to choose the FIIO FA19 and connected to of course the BTR17 while I type this review. The FA19 was one of my favourite sets of last year, and one I feel hasn’t really had enough attention… I have a huge soft spot however for all BA sets, in a similar way to my love of single DDs, and the FA19 really hit a sweet spot for me. Anyway, the BTR17 has a clean, transparent, spacious sound with a mostly neutral foundation – I feel there is a hint of warmth that keeps things from leaning clinical, always a risk with IEMs that already lean that way. I have found excellent synergy with absolutely any IEM I choose to hook up, and indeed likewise headphones – most notably my recently acquired Austrian Audio ‘The Composer’ which sounds really wonderful with this tiny, magic dongle.

I would wonder how people would fare if subjected to a blindfold test with the likes of this dongle and say a much more expensive DAP – I’m not certain how I’d survive such a test. Anyway, this is can of worms territory! Lets just conclude by saying the BTR17 sounds fantastic, and I think would surprise many, especially considering the $199 price tag.

Conclusion

The BTR17 is absolutely fantastic, and the sort of device that at $199 sort of makes me scratch my head as to why on earth I need expensive DAPs – but then I remind myself of my OCD ‘requirement’ to have a vast library of FLAC, and also the tech nerd in me simply loves playing with consumer electronics! But in reality, the BTR17 could certainly offer most of what the typical music lover requires in 2025, and for not a whole lot of money. This has been my go-to dongle since it arrived in late 2024, the balance of sound quality, power, and massive flexibility just makes it an easy choice anytime I want to listen and not choose a DAP.

FIIO really did knock it considerably out of the park with the BTR17, and I’ll be intrigued to see what an upgrade to this will look like.

Softears Volume S

1x DD with active and passive driver, 2x BA
RRP: $319



Introduction

It is probably somewhat fair to say that I am a self-proclaimed Softears fanboy, and this is mostly due to the wonderful Turii Ti which remains my ‘GOAT’ single dynamic driver three years later – to really underline this point, my love for the Turii Ti at the time actually led to me parting company with both the Traillii and Jewel, a brave move but not one I regret… for the most part, I have debated dipping back to the Traillii at times. I have also owned and loved the excellent Twilight, and most recently had the pleasure of becoming familiar with both the Volume S and Enigma, the latter being the subject for my next review, but for now, I will dive into the Volume S… which btw as will become evident in the review, continues my fanboy appreciation for Softears!

Softears sent me the Volume S in exchange for a review, as always, all thoughts and words my own. Thank you to Softears for the opportunity!

Volume S is available from Musicteck HERE



About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Softears (from their ‘About Us’)

A Chinese brand focused on technology, R&D, and innovation Is a young but experienced company. The founder started working in audio in 2014, the studio was founded in 2017 in Shenzhen, China’s Silicon Valley, and in 2019 set up an independent lab for R&D and our own factory in Chengdu, a Humanistic City. Softears wants to bring you a soft and comfortable, balanced and durable listening experience. We are committed to research and development of loudspeakers and tuning equipment, with excellent manufacturing process and excellent quality control, pride in excellence is our brand way. We pour all these efforts to make ourselves capable of producing a true hi-end product meticulously, we swear by it.

Specifications:

Impedance:
Mode 1: 31.2Ω@1kHz
Mode 2: 9.8Ω@1kHz

Sensitivity:
Mode 1: 114dB/Vrms@1kHz
Mode 2: 124dB/Vrms@1kHz

Effective Frequency Response: 20-20kHz (IEC60318-4)
Frequency Range: 8-40kHz (1/4' Free Field, -5dB)
THD: ＜1%@1kHz
Shell: Medical-grade resin + aluminium alloy + carbon fiber
Drivers: 10mm silicone diaphragm dynamic driver + 6mm wool paper diaphragm passive dynamic driver + 2 balanced armature drivers
Cable: Interchangeable 3.5mm/4.4mm plugs, 2pin 0.78mm oxygen-free copper braided paracord cable

Unboxing & Accessories

Nothing overly special here in terms of the unboxing – reasonably straightforward flip open the box, and you are greeted quickly by the IEMs, an accessories envelope, and the case.





Accessories

An impressive selection of accessories on offer here, to include even a protective mesh for the IEMs when not in use, which interestingly doesn’t come with the significantly more expensive Enigma. In addition you get a selection of silicone tips in S/M/L, and also the UC tips that Softears appear to now include as standard with their IEMs – think Alza Crystal if you aren’t familiar with the UCs.

Cable

I love the look and feel of the cable, it has a premium corded style finish with a nice amount of weight. The modular system for 3.5mm and 4.4mm is excellent, with a screw on system to secure. On the downside, I do find the cable quite microphonic if out walking – a relatively easy fix though is to secure the chin slider up to just below my neck.





Case



The case is nice and has plenty of space to store the Volume S along with the protective mesh and included dust cloth. I would like to have seen a storage net on the inner lid, something I now always use to store some spare tips and even other bits and pieces such as smaller USB cable or a spare microSD card (in a full size SD adaptor).



It is quite a big case which tends to be the theme with most IEMs – still one you can easily pop into a laptop bag or something, but perhaps a touch large for a typical pocket in jeans.



Comfort & Fit

These are incredibly comfortable IEMs, just pop them into my ears and ready to go – no messing about to fit a secure fit. The nozzle isn’t too wide, but does have reasonable length, but certainly nothing overly intrusive. While there is no lip or edge on the nozzle, I’ve had no problems with tips such as the Acoustune AET07 staying on securely.



They are rather light weight too so combined with the smooth edges, and indeed tuning which I’ll come on to next, the Volume S are the sort of set that can be worn for very long sessions.

There is a slight recess for the 2-pin connection on the shells which I am delighted to see, not enough brands do this and I can never understand having flat 2-pin connections, and then supplying a cable with 2-pin plugs designed to plug into the recess input. Having this recess not only looks tidier, but also feels more secure.



Listening Impressions

Volume S is the sort of set that’s hard to fault, and very easy to love. The tuning and tonality is warm and captivating, delivering musicality in bucket loads. Everything just sounds ‘right’ to my ears, from the low through to the highs – and the extent to which technicalities present themselves, offering up enough detail retrieval to hear those smaller nuances such as guitar strums or a vocalist taking a breath, but yet remaining focused on a cohesive, refined, and highly engaging presentation that still rises up to perform for those more energetic tracks too.



I have tried the high impedance setting a couple of times and not for me – it just becomes a touch too harsh and I always quickly flick back to low. On that basis, this review speaks only to the low impedance setting.

Low Frequency

While Volume S won’t be considered a ‘bass-head’ set, the use of both active and passive in the dynamic driver certainly delivers a solid foundation of bass that is very much the bedrock to the overall sense of warmth and density in the tuning. My first experience of a passive driver like this was with the MA ‘Eclipse’ and what I found with that set, I hear again now – that is a high-quality, visceral bass presentation that has a real physicality about it – it is distinct, but never obtrusive, and the quality really allows nuances to shine through such as the reverb of strings on a bass guitar. Sub-bass does roll off slightly, and there is a bias towards mid-bass – the opposite of my usual preference but it works well for the overall tuning profile, so I will forgive I do hear quite a large impact when the mid-bass is called upon, especially with say more booming kick drums. I think it is due to the active/passive design, but the bass has that sensation of like what a subwoofer provides – very distinctive and again, visceral in delivery.

Midrange

The mids have a full-bodied, somewhat lush presentation yet still with excellent clarity. Vocals sit a touch forward, and again that sense of weight provides a highly realistic presentation. The upper mids hit a nice sweet spot for me where they allow instruments and vocals in this region to reach a nice height, yet without becoming harsh – that coupled with the full-bodied lower mids really do ensure that I can comfortably tick that all important ‘emotive’ box

High Frequency

Treble rolls off somewhat, not the most sparkly or airy in this region so those of you who lean more treble-head might be left wanting here. I would describe as smooth, but yet still sufficiently detailed and again fits with the overall profile of the tuning – smooth, engaging, and emotive. But just to emphasise again, even with this more subdued region, you still get sufficient detail representation – it is very tastefully tuned.

Technical

While I’d not quite go as far as to describe as holographic, it’s not a million miles away and very impressive considering there’s not a whole bunch of drivers squeezed in here – the layering really does give a sense of multiple dimensions to the music, but still in a cohesive presentation. The imaging is also very good, but I wouldn’t say super-focused in this regard, I find the overall tuning ethos with Volume S really does focus on the bigger picture of pure musical enjoyment. Details are there should you choose to focus on them, but I find my attention is typically more drawn to the overall experience… a beautiful, embracing signature with excellent realism, and those many buckets of emotive sauce when the music calls for it.



Tracks

Apta – Sink



This opening track from the excellent album ‘The Pool’ is a great example of how Volume S renders numerous layers of instruments, giving a real sense of music being both inside and outside your head – this is something I usually associate with several drivers, but Softears have pulled it off with a modest 3 and bit.

Dron – Hunting



A somewhat industrial-infused bit of IDM, with an electro slant too. This showcases how a set can handle something a bit more abrasive, and with quite a bit of percussive complexity along with many layers of almost aggressive synths. Volume S manages to hold up incredibly well with excellent clarity and pace – again with a large stage that presents both inside and outside my head, yet still emanating from the centre. This is certainly not a relaxing track, and in the wrong IEMs can be a challenging listen – Volume S does a great job of keeping everything in check, albeit still on the cusp of danger perhaps…

Four Tet – Storm Crystals



I bought this a while ago but only started listening recently, a busy time of life for me over the last few months and even with topping up my Bandcamp library, I’ve left quite a few ‘on the shelf’ so to speak… better late than never though, as I’ve been loving this album over the last week or so. The clarity is again very evident, and I do note that the upper mids aren’t too far away from my personal danger zone – I feel like I’m about to wince here at times with the occasional stabbing synths, but kept just at bay – only just. Percussion has a wonderful realism and even with the somewhat subdued treble, the hi-hats have a nice shimmer and support that wide sense of stage.

Mount Kimbie – Dumb Guitar



I ended noting the percussion of the last track, and I’ll start by noting it again here in a very similar way… it has that realistic presentation, fantastic timbre which for my ears just sounds ‘real’. Vocals again sound realistic with a good central / slightly forward position, with good density. It’s a busy enough track with the combination of drums, vocals, guitars and synths but I don’t find any sense of congestion during even the busiest of passages.

Basic Channel – Phylyps Track



On to some rather banging techno from the dub techno masters, Basic Channel. This is a classic from the 90s and a good test to hear the impact from the kick drums – they aren’t boomy kick drums in this track, but still sufficiently distinct and certainly well represented here. The synths lean slightly aggressive at times, but nothing too harsh. The lower registers of synths rumble along nicely, again giving that sensation of a subwoofer at work.

T.R. Jordan – Encoder Error



My favourite track from the utterly brilliant ‘Dwell Time’ – an album I now consider in the upper echelons of my ambient albums. I’ve listened to this albums countless times, often as I go to sleep or when doing admin work and I want something soothing in the background that doesn’t distract. This is the sort of track that really hits hard from an emotive perspective, a soul-touching piece of music that Volume S captures wonderfully – I’ve noted how the mids tick the emotive box, and that is clearly evident with this masterpiece.

Comparison

TSMR ‘Armor’

I chose this set as it sits at a similar price point, and also a set I’ve found to be a great all-rounder with a smooth, engaging profile. I haven’t listened to it for a while, so this was a good opportunity to revisit.

Armor immediately sounds more intimate in comparison, and I note a flatter stage that while has good width, definitely steps back in terms of depth vs Volume S. The upper mids are safer also, I can hear with ‘Phylyps Track’ that the synths don’t quite stab as aggressively – Armor has an overall much smoother profile… but that doesn’t surprise me, Armor is one of the smoothest sets I’ve tried. Loading up ‘Glue’ by Bicep, and Volume S sounds much more energetic in comparison, and I note also that subwoofer bass delivery – I think this is certainly part of the overall wide/deep sense of stage with Volume S.

While both have an emotive and smooth leaning profile, Armor definitely is the significantly smoother of the two.

Conclusion

So there you have it – I noted my fanboyism at the start, and I’ve no doubt that was evident throughout. There are only a few brands I quite honestly say that about, and Softears without question join the likes of DUNU, DITA, and Sony to name just three that fit the bill. While the Volume S is a veritable all-rounder, it raises the bar in the price segment by at the same time being a superbly tuned set that in my experience allows almost any music to shine with immense beauty – that coupled with the incredibly comfortable shells allows for endless hours of listening pleasure. Some tracks can hit a bit of a upper-mid danger zone, but in my experience that has been only very few, and indeed tracks that are quite risky to begin with.

Softears interestingly share with the likes of DUNU and DITA the same slower approach to the market, where they only release something every couple of years – taking time to perfect the product, which to me appears to be a real labour of love.

BGVP NS10 Pro
1x DD, 1x Planar, 8x BA
RRP: $199

Available from BGVP – HERE and various other stockists around the world… Google is as always your friend!

Introduction

This is my second experience with a BGVP IEM, the first being the excellent ‘Phantom SE’ which I reviewed late last year and rate very highly. BGVP asked if I’d like to review the NS10 Pro and while I’m easing off with reviews in 2025, I found it hard to say no having had a great experience with the Phantom SE.

Thank you to BGVP for the opportunity and as always, all words and pictures my own…



About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About BGVP (from their ‘About Us’)

BGVP - A pro headset brand founded in 2015, is the subordinate brand of Dongguan Nengjiang technology limited company, the company is located in Dalang Town, Dongguan City. BGVP mainly produces and customizes various high-end HIFI earbuds, earphones and other electronic products. In the process of development, BGVP has never forgotten to master the core technology capabilities, independent research, development and sales. BGVP is committed to providing high-quality HIFI headsets for consumers around the world.

Music is the monologue of the soul. BGVP is committed to presenting you with higher quality, purer and more infectious sounds using advanced and professional acoustic technology. We hope that when you wear headphones made by BGVP, you can experience the joy of integrating music. BGVP is committed to creating outstanding and extremely versatile product dialogue users with exquisite engineering and rigorous testing systems. With the ingenuity of the company, the company insists to the ultimate in cost-effectiveness, and adheres to the principle of putting customers in the first place, and has the most cost-effective model at all prices.

BGVP is more focused on earbuds and flat heads. After years of research and development, BGVP insists on exploring the future and continues to introduce new TWS and electrostatic earbuds this year. We believe that sky is the only limit of us. BGVP is here to satisfy your critical auditory nerve.

Specifications:



Drivers:



Unboxing & Accessories

A pretty straightforward affair, but I must say I like the quality of their packaging – while nothing fancy, the cardboard is robust and the opening out of the flaps provides a nice experience.





Accessories

You get all you need here – a case, a good selection of tips, and 3 tuning filters (one installed on arrival).



Cable

The cable looks and feels high-quality. It is terminated to MMCX on the IEMs, and a modular system with both 3.5mm and 4.4mm interchangeable plugs.

A nitpick here is the size of the plugs as they are rather large and I actually had a bit of trouble taking my Aune M1p and the NS10 Pro out of a pocket of a jacket I often wear out walking – the much longer jack got stuck in my pocket, and took a bit of manoeuvring to free it. I do think BGVP should try make this smaller. That aside, it is a robust connection and again feels very good quality. The below image shows a comparison of a 4.4mm plug on another cable...



Case



The case is the same as what comes with the much more expensive Phantom SE and one I must say I like very much. It again feels of high quality, fits the NS10 Pro with room to spare and has a net on the top to store spare tips and the tuning nozzles.



Comfort & Fit

These are very small shells considering they are housing 10 drivers. The ‘premium’ theme continues here with a single piece of aviation-grade aluminium housing the drivers. The shells are designed with an ergonomic shape that sit incredibly comfortably in my ears, in spite of having a bit of weight to them.



There is a rather large vent on the side of the shell, and this certainly means absolutely no issues with any pressure build, the combination of this and the ergonomic design allow for extended listening sessions.







Listening Impressions

I must start by saying, I’ve no idea how there isn’t more (any?!) hype around this set in the market – I guess not many have heard them yet. I’ll get right to it and say these are my personal favourite I’ve tried in the price range, especially when using the gold filters which are the most resolving, and best suited for acoustic, classical, ambient etc.



The included filters definitely make a sonic difference, albeit not massively – but enough to allow you tune to your preference depending on music preferences etc. As noted, I’ve used gold the most and have adored how my vast modern classical and ambient library sounds with these attached. The red filter goes for a touch more balanced, with the silver focusing more on low-end, and likely the choice if your focus is more pop, electronic music etc. The filters are quite small, and the size difference between each is also very small but again noticeable when you place them beside each other.



Overall, I would describe the NS10 Pro as quite an energetic set, with excellent execution around the entire frequency response – plus with an impressive level of detail retrieval in a good size stage. There is a ‘wow’ factor with the tuning that really makes them stand out in this price segment, offering a bit of pizazz instead of perhaps a safer direction that some might take… that energy up top can be a double-edged sword where it might be a bit challenging for older recordings or even more aggressive/highly-energetic tracks or genres. The mids and upper mids in particular extend really beautifully, creating a highly captivating experience for again genres like modern classical, ambient, acoustic, or vocal focused tracks – when listening to some of my more emotive ambient albums, they’ve comfortably managed to send shivers through me in a way that I’d usually only experience with more expensive sets – I have to remind myself this is a sub $200 IEM.



Low Frequency

The lows are handled by a single 10mm dynamic driver, and an 8mm planar driver – not sure I’ve encountered this combination before for low-end… and, I didn’t even know there was a planar in there until preparing this review and reading the specs!!!

Sub-bass doesn’t extend to the sort of level I typically prefer, but there is good extension when called for with a reasonable amount of visceral rumble. The mid-bass has excellent authority with a really good kick or slam - regardless of chosen filter, where the track presents a good kickdrum for example, the NS10 Pro certainly delivers with a fantastic articulate presentation

Midrange

I’m not certain as the specifications do not eh, specify but I’m guessing there are 4x BAs serving up the midrange. The driver information is covered earlier in the review in specifications for those of you who would like to know the specific drivers being used. Anyway…

The mids while not thin per se, aren’t the most full-bodied either so if you are looking for a dense or lush midrange, NS10 Pro may not be the best option. But as I say, they aren’t thin or brittle, I find the presentation very realistic and authentic for male/female vocals or instruments – just enough note weight. Likewise the upper mids transition to a very well executed delivery, allowing violins for example to soar with a wonderful emotive ascent and without hitting any danger zones in this region – BGVP have really executed this perfectly for my taste. There is an overall excellent sense of clarity in the midrange, coupled with a reasonable level of warmth to ensure nothing comes off as clinical.

High Frequency

The highs appear to be catered for by 2x BA for treble, and another two for the uppermost frequencies. The high frequency region certainly extends, and as noted earlier, this might be an issue for some – depending on age I guess and tolerance levels to this region. For the most part, this hasn’t been an issue for me and to the contrary where that extra shimmering sizzle and detail has really added to the overall engaging tuning. There have been occasions with lower quality and older recordings where it has come off a bit harsh, but this is in my experience the usual trade-off in this region – I don’t think you can have your cake and eat it in this regard… good quality recordings benefit from the extra detail, sense of stage, visceral sparkle where lower quality just end up being a touch harsh, and sometimes even unlistenable.

Technical

The soundstage extends to a reasonable width, and has a good sense of depth – nothing mind-blowing, but fills my head well and provides what I would consider to be a competent presentation. Imaging, layering and overall instrument/vocal placement is excellent with wonderful clarity, but still an overall cohesive signature – your attention won’t be dragged away as your mind is directed to a single instrument, yet you can focus your attention if you choose to. Resolution is very good, especially with the gold filter as it seems to eek out that bit more detail. Timbre is also excellent - I’ve been very impressed with how guitars, piano, violins, vocals, and my many iterations of electronic music to name a few are rendered.



Tracks (all tested with the red ‘neutral’ filter)

Datawave – Locating



Diving straight into a genre to really test how NS10 Pro respond to a reasonably complex yet melodic piece of electro. The opening synths to my ears demonstrate the proficiency of the midrange – emotive, engaging, clear and as they climb towards the upper extremity, they shimmer and captivate yet remain in a safe zone just before touching on what might become harsh. The synths playfully swirl about the stage, while the complex percussion is captured perfectly with excellent detail and sparkle. I’d like a bit more sub extension, but otherwise a great performance…

Parks – Just Watching You



This features on the utterly spectacular ‘Snowblind’ from Parks, one of my all-time favourite albums which I’ve played countless times over the last number of years – it’s one of those albums that I just keep returning to, and love even more with each session. I can’t fault the performance here, I get that large sense of space with the synths, the piano sounds eery and captivating, and the occasional vocal samples pop out in the centre where I feel I can almost touch them.

Angel Olsen – Ride



A great track to test timbre realism and emotive connection. As noted, the mids while not lush or thick, aren’t thin or weak either – they seem to sit in a very comfortable mid-ground which is captured perfectly with this song. The vocals have sufficient body and sound incredibly lifelike in their central and slightly forward position. The drums are again rendered with that same lifelike authenticity, especially with the brighter energy up top really bringing them to life.

Kevin Morby – Campfire



This song demonstrates how we are in safe hands also with male vocals – yet again located in that central, slightly forward position – a tiny nitpick here would be perhaps his voice is every so slightly thinner than I might like, but it’s marginal. There is such an excellent sense of clarity in terms of instrument positioning – it has that sense of maybe sitting in a small venue and up close to the performance.

Yagya – Stormur tiu



Yagya has released quite a number of excellent albums over the years, mostly focused on melodic dub techno – that is with the exception of this. On ‘Stormur’ he takes a much more techno focus route, minus the melodic dub – this plays like a continuous mix DJ set, where he increases the intensity to a climax at around the point of the track I’ve chosen here. For those of you who enjoy techno, I’m sure you’ll agree this is the sort of track a DJ might drop at say 2am, a couple of hours into their set and with an explosive reaction from the crowd… NS10 Pro does a wonderful job of creating that atmosphere, the pounding kick-drum landing bang centre in my skull with a visceral impact – the almost angry synths and bassline accompanying and expanding the stage in a way that feels reminiscent of standing in the middle of a busy dancefloor in a small underground techno venue. This begs to be turned up loud, and the energetic NS10 Pro delivers.

Conclusion

As I’m sure is evident, I have been super impressed with the NS10 Pro and definitely my IEM of choice in this price range. They offer something different to others I’ve reviewed in this region such as the AFUL P5+2 and NiceHCK NX8, both excellent sets but I find the NS10 Pro takes the edge as a more engaging set, along with the more premium build quality of both the IEMs and stock cable. I have to stress again that these do lean brighter or a touch more energetic up top than some might like, so proceed with caution if you are sensitive to this region. While I often award sets 4.5/5, I am more selective about where I dish out a full 5 - the NS10 Pro in my opinion absolutely deserves the full marks on offer.

Penon ‘Voltage’
2x DD / 4x BA / 4x EST
RRP: $1,199



Available directly from Penon HERE

Introduction

Penon are one of those brands that once you’ve even a short amount of time in the hobby, you are very likely to have heard of them – fair to say they are known for providing high performing products at lower prices… they’ve recently taken a step up into the kilobuck zone, with the first in this segment being the ‘Voltage’, the subject for today’s review.

While this is my first Penon review, Voltage is not my first Penon IEM – I’ve owned Serial, Vortex and I think it was Fan 2 but moved all of them along during a rather chaotic phase for me in the hobby when climbing the IEM ladder at a ludicrously erratic and fast pace… I’ve definitely got the scars to show for it, and indeed the crazy hit to the bank account – I think I’m almost cured, is there a cure?! – hmmm.

Anyway, I was very happy to be offered the opportunity tor review Voltage as it is a highly regarded set in the community, and indeed hits a personal sweet spot for driver configuration being loaded with 2x DDs, 4x BAs, and 4x ESTs – in my experience, a nice balance and choice of drivers to really bring out the best in each FR zone… if done right of course.

Voltage was sent to me free of charge in exchange for my review, and as always, all thoughts and pictures are mine, with no input from the brand. Thank you to Penon for the opportunity, much appreciated.



About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Penon (from the Penon ‘About Us’)

PenonAudio online shop (www.penonaudio.com) was born in 2013 and our main goal is to sell the best selected audio products at the most affordable prices for both the audiophiles and business users.

Many internet retailers sell thousands of products and provide you with nothing more than a generic description and a "Buy" button. We're different. We specialize in audio and head-fi gears, so our sales staff are fully trained on our products and are capable of answering detailed questions and making recommendations.

When shopping for audio and head-fi gears online, consumers often face a dilemma: buy from a reputable site and pay more, or risk buying from a not-so-trustworthy site to get the lowest price. With PenonAudio, you don't have to choose between low prices and a safe, high-quality shopping experience. You can have it all when you shop with us.

Specifications:

Driver: 4EST+4BA+2DD

• 4 x Sonion Electrostatic for ultra- high frequency
• 2 x Sonion Balanced Armature for high frequency
• 2 x Sonion Balanced Armature for middle frequency
• 2 x 8mm dynamic driver for low frequency
• 4-way crossover, 4 tubes
• Impedance: 13 ohm
• Sensitivity: 106dB
• Frequency response range: 5Hz~70kHz
• Connector: 2Pin 0.78mm
• Cable: 4 Shares OCC & 18K Gold-plated OCC Mixed
• Plug: 3-in-1 modular (3.5mm audio,2.5mm/4.4mm balanced)
• Cable length: 1.2M

Unboxing & Accessories

Nothing particularly fancy here, from memory the packaging and accessories are exactly like what I’ve had with previous lower-priced models, albeit perhaps for the IEM protective case. I’m a bit torn here between ‘if not broken don’t fix’ versus ‘hey, I’ve just paid over one-thousand bucks for an IEM, I’d like to feel a bit more special please’… I lean towards the latter though, and feel it should be a touch more premium at this price point.



Accessories

A nice bundle of accessories which include a selection of ear tips in small/medium/large, carry case, cleaning tool, protective case, tuning tool, and a smaller case to I assume carry various bits and pieces.





Cable

Not going to beat around the bush here – not a fan in terms of styling, and I have always thought Penon could up their game in terms of the cable bundled… to me, they look dated and a touch cheap – mostly the terminations to the IEMs and plug – I think the carbon fibre effect gives the dated vibe. The cable itself has a nice rubber-touch and does actually feel more premium, just if Penon could make a small tweak to the terminations and plug I’d be a happy Scuba.





Oh and I’d prefer to see a flat 2-pin termination when the sockets are flat... small but important detail that is often neglected.



Case



I think this is the same case with a lot of their IEMs, certainly what I recall coming with Voltage, Serial and Fan 2. It is a nice and practical case, comfortably fitting Voltage and also spare tips etc in one of the two net enclosures. A mandatory nitpick here would be that I’d like to see them up their game with a set at this price – the case should feel more premium to match the more premium price tag.



Comfort & Fit

The shells are a medium to large size, as you would expect when housing no less than 10 drivers. From a comfort perspective, the nozzles are on the larger size so I find myself dropping down a size in ear tips from my more frequently chosen XL options from the likes of Acoustune. I found with the XL AEX07 that I was actually getting a bit of pressure build, which is odd with a vented set but I could feel it, and there was a noticeable pressure release when unplugging from my ears. I’ve landed on a random set from my large arsenal of tips, but actually no idea what they are… they are however perfect in terms of fit and I suspect a medium size.



They carry the typical Penon style, which both from what I’ve owned, and what I’ve seen online, seems to be pretty consistent throughout the range. To my eyes they look fine, nothing bling, and nor too bland – they don’t excite me, nor do I find them offensive…





Listening Impressions

I have to note first of all that I have not adjusted the tuning switches – the reason being, I really dislike these options – I’m weird in that I just like to have a set and stick with the default tuning… and tbh, I loved what I heard from Voltage immediately out of the box, and didn’t want to introduce unnecessary complexity – but I hear you say, maybe you’d prefer one of the other options, how do you know if you don’t try? – that is indeed true, but I’m stubborn so the review is based solely on the default… plenty of others that go into wonderful detail as to how the tuning switches impact the sound. That was a lot of words explaining myself!



The Voltage have been plugged into quiet a few DAPs over the last few weeks – I often talk about my time with a set in the context of my morning walks, and in those scenarios mostly limited to my Aune M1p or Sony ZX300 – Voltage has been mostly a home set, and as such has had the benefit of my higher-end machinery such as the spectacular Lotoo GT2 or Sony WM1ZM2… two of my favourite DAPs I’ve had the pleasure of owning. For the purpose of this review, and while I type – I’m listening via the GT2 which would certainly be my preferred DAP based on the more neutral tuning with a decent amount of power on tap.

Anyway, two paragraphs of waffle and absolutely zero reference to the sound in a listening impressions segment! In the words of Roots Manuva… well, well, well – the Voltage sounds bloody good, shockingly so (sorry, couldn't resist) – what we’ve got here is a highly, highly, highly competent all-rounder… but not in the sense of a perhaps mundane ‘jack of all trades’ – no, Voltage actually sounds wonderfully engaging and musical with absolutely any genre – I can confidently choose anything in my vast FLAC library that spans back over two decades, and be delighted with the outcome. While not the last word in technical competency, you won’t get the most tiny details, nor the highest levels of resolution – the focus here is pure and simply musical engagement, with a heavy dose of emotive connection. The Penon midrange magic is absolutely evident, with an overall sense of ‘safety’ and warmth, delivered with an overall rich and vibrant signature that is just so easy to love.

Low Frequency

The bass is plentiful, but certainly not bass-head levels in terms of quantity – from a personal perspective, more than adequate as I prefer anyway a degree of balance ideally across the FR. The quality is very nice, there is a visceral sense of delivery in both sub rumble and mid impact, with a very pleasing timbre regardless of instrument. There is excellent distinction also when you’ve both a sub and mid-bass focus, very easy to hear both play out with a rumble and kick not becoming muddy or overpowering – I guess due to the dual dynamic drivers and competent tuning.

Midrange

Penon seems to be known for midrange magic, and I can certainly hear why with Voltage. The midrange is typically for a lot of music where the bulk of the activity is focused, and from an emotive perspective I feel you need a bit of weight and prominence in this region – Voltage absolutely delivers, providing a rich and incredibly engaging experience here – vocals, piano, synths, violins… I’ve not been left wanting. Clarity is excellent too, with no issues for any complex tracks – always enough pace and space to allow everything to shine.

High Frequency

In the same way Voltage is not a bass-head set, nor is it a treble-head set – quite safe up top and might leave some wanting in terms of zing and air. That said, you do still get a reasonable level of extension and sufficient detail retrieval in this zone, and the more subdued presentation allows for highly diverse genres and very forgiving of older or lower quality recordings.

Technical

Again I’d stay in the ‘safe’ theme where the focus is very much a musical performance, not a clinical analysis – that means you don’t get to zoom in on tiny details, and you also don’t get a massive stage with laser-sharp imaging… the Voltage is very much about good old-fashioned music enjoyment… a criteria that perhaps should be higher on audiophiles lists. That’s not to say Voltage is a slouch here – imaging is certainly very competent, and even within an overall more cohesive presentation, you can still stop and zoom in on various elements if you choose to, just that Voltage won’t demand that of you… preferring instead to focus on captivating you with an emotive experience.



Tracks

Cujo – Fat Ass Joint



This is the 3rd track from the recently reissued ‘Adventures in Foam’ by the brilliant Amon Tobin, going by the name Cujo for this first album which was originally released in 1996. This early offering has an excellent mix of breakbeat, drum & bass, jazz, and his signature ability to infuse a dark but melodic atmosphere. Voltage is pretty much perfect here – the intricacies of the percussion programming, coupled with the beautiful deep bass, saxophone, and the sprinkling melodies that are infused throughout simply sum up to a fantastic listening experience… Voltage doesn’t break a sweat in ensuring everything comes together as a cohesive whole, presenting a fun and captivating listen. I often reference moments of ‘analysis’ like this when I just want to shut the laptop and listen to the album – this is 100% of one those. Wonderful!

Floating Points – Fast Forward



Jumping forward to 2024 with the latest from Floating Points, certainly one of the standout electronic albums (of many!) from last year. Moving the BPMs up quite a notch here but in a less complex four-to-the-floor percussive pattern, really allowing Vortex to shine with an energetic up-front pounding kick-drum and busy enough mid-section in terms of the synths – there is a lot going on at times, but again no problem for Vortex handling any of the complexity or peaks – never straying into anything even bordering on harsh. Again… wonderful.

Glasbird – South Fen Pine



A recent purchase and one I often choose when nodding off to sleep, as such a completely different direction from the last two tracks where this brings us to a really beautiful ambient/modern classical offering. The mid-section immediately shines, highlighting the emotive and captivating nature of the music with ease. There is a large sense of space to the track, where you really feel submerged in the music. I do however prefer music like this with a more resolving set, as there are intricate nuances that I seek out and would usually reach for a resolving dynamic driver for example… absolutely not to say Vortex does a bad job, and I could certainly listen to this album in full appreciation, but with the choices available, I will still choose a single DD, and also a set that drives some more focus on the higher frequencies.

Submotion Orchestra – Always



This is a recent discovery for me when I stumbled across an article from 2019 on Bandcamp showcasing some more modern trip-hop albums, noting the genre is still alive and well, and indeed producing some gems – albeit in this case this album is actually from 2011, but I ended up discovering as a result of the article! Anyway – you get the point hopefully!

With ‘Always’ we get an opportunity to evaluate some female vocals along with a reasonably busy track – the vocals sit central, and a touch forward with good body and sense of note weight. There is again plenty of space for everything to occupy the stage, and I just feel like smiling when the sax makes an occasional entry, along with the overall very happy vibe this album conveys, and with a solid 10/10 performance from Voltage.

Deerhunter – Desire Lines



While not an ‘old’ album, this one does go back to 2010 and I must say that does feel like quite a long time ago for me now – I love the entire album, and indeed lots of other work from Deerhunter but this has always been a real standout track for me, and one I’ve often wished went on beyond it’s already reasonably long runtime at almost 7 minutes. I feel a bit broken record here but the truth is, Voltage again delivers – cohesive, musical, nothing offensive and infuses that feeling of simply enjoying the music.

I've added a few more tracks that I've loved with Voltage over the last while after the conclusion below...

Conclusion

Voltage for me has exceeded expectations, and a set I see myself continuing to reach for when I just want to kick back and immerse myself in the music, no matter what I select in my vast library – offering a tuning that while leaning more towards the overall musical, emotive experience, still maintains a solid performance from a technical perspective – just not the focus.

I do think Penon could step up in terms of packaging and stock cable, and only for that reason do I knock off half a star. Otherwise a very solid recommendation for those seeking a solid all-rounder that isn’t at all fussy about what you choose to listen to.

As a closing note, I've ended up going back to the full 'Halcyon Digest' album from Deerhunter - loving this revisit while I add some final touches to the review ahead of publishing!



Further listening... nothing more to say other than they all sound fantasic.

DITA AUDIO ‘MECHA’
Single Dynamic Driver - $899



Available from DITA HERE

Introduction

My introduction to DITA was the wonderful Perpetua, followed by the very different but equally wonderful ‘Project M’ which I reviewed around this time last year – Project M was somewhat polarizing due to the brighter tuning which of course doesn’t suit everyone – when DITA announced Mecha maybe around early summer last year, it created quite a buzz based on the description of being the ‘antithesis of Project M’, i.e. the exact opposite of the Project M tuning… a warmer, bass-focused set – some early sets prior to launch were very well received at various audio events again around the middle of last year, but another 6 months or so were to pass before Mecha would ultimately be let out in the wild… this wait certainly built excitement and anticipation, and I was very pleased to finally get Mecha in my hands in late December.
I’ve noted before how much I admire brands like DITA where they take care in the development of new products, never rushing anything to the market – only releasing when they are absolutely satisfied it is ready to plug into our eager ears… even with me sending regular emails to DITA asking ‘is it ready yet, is it ready yet?!’
The Mecha was sent to me free of charge in exchange for my review, and as always, all thoughts and pictures are mine, with no input from the brand. Thank you to DITA as always, it is a pleasure to work with you and I am genuinely thankful for the opportunity.

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About DITA Audio

DITA Audio builds products embodying a quest for the sublime, based off the premise that a well-crafted product is an experience in itself. Beyond the realm of audio, DITA looks to engage partners and clientele with a curiosity and passion for complete design integration and execution. Driving collaborative ventures in the fields of design, engineering and manufacturing to that end.

Established in 1971, DITA's parent company, Packagers Pte. Ltd, possesses 49 years of research and experience in automation and engineering: Treasured and translated into the uncompromising commitment to craft imbued within every DITA product.

DITA's heart and soul lies in our love for music, both live and reproduced. DITA specifically built a music room at our Singapore HQ as a reference system. Which its engineers and sound technicians use as a reference point in the tuning of each DITA product.

Specifications:

Driver Configuration (from DITA reviewers pack)

Serving as the heart of the Mecha is its 10mm Lithium-Magnesium Driver, stylized as the LiMa driver. This driver was tuned with a full-ranged, rich and immersive sound in mind. It was incredibly important to us that the Mecha sounded in some way sonically distinct of the Project M.

Already thin, light and rigid, the clean, fast properties of Mecha’s LiMa driver are further augmented by two features

· A carbide surround that further adds to the stiffness of the diaphragm and therefore the cleanliness of the sound
· A dual-magnet system for more efficiency and better power handling.

The driver in general is 10mm in diameter and is made of a 9mm diaphragm and a 1mm carbide surround.



Unboxing & Accessories

The DITA unboxing experience is always a pleasure, and Mecha is no exception. While relatively straightforward, it still oozes a premium feeling and absolutely conveys the brands pride and passion for what they do – small touches such as including a ‘Mecha’ sticker, and also a full alphabet/numeric sticker sheet – quirky touches, and I’m not sure how many will actually use these stickers, but again, a nice touch that won’t cost a whole lot.











Accessories



Along with the quirky stickers, you also receive the more practical and indeed necessary selection of accessories to include:

· ‘Churro’ Cable
· Awesome Plug v2 system – swappable connections for 4.4mm, 3.5mm, and mini USB-C dongle
· Final Type E tips
· TANOS Storage Case

Cable

The Churro cable is very high quality, looking and feeling premium. Microphonics are minimal, and the modular ‘Awesome plug’ system is excellent, easy to detach and attach without any complicated locking mechanism, or indeed an insecure mechanism that easily detaches as can be the case. The cable is on the thicker and heavier side however, which for me personally means not a great choice for out and about walking – I am quite fussy in this regard and much prefer a lighter/softer cable.



You get the usual 4.4mm, 3.5mm, and now also a mini USB-C dongle which seems to becoming more common – I must admit I’ve yet to test this.



The cable terminates to Mecha with a flat 2-pin connection which is easy to connect and feels very secure. While in pictures this might look like a QDC, it is indeed actually a standard 2-pin connector which of course allows more flexibility to try others in your collection.





Oh and as an aside, for those who may not know – a ‘Churro’ is a fried dough that is often served in Spain with a cup of melted chocolate you can dip into. I hadn’t heard of this up until visiting Malaga in Spain a few years ago… I left the café feeling a touch full, they are certainly filling and it’s easy to eat more than what might be healthy! It was a really interesting experience though also as a very popular treat in Malaga for the locals.

Case



The TANOS case is the exact same as what comes with Project M and I am not overly keen on it – it can be tricky to wrap up Mecha and store without a couple of attempts to ensure the lid will close, and I feel a tad nervous at times when there is any resistance – not that the titanium shells can’t withstand, but more if pressure applied perhaps to the cable 2-pin terminations and might damage – highly, highly unlikely, but I’m a bit OCD with these things!



Comfort & Fit

The shells are made from titanium alloy and while they have a bit of weight to them, they never feel heavy in my ears. They yet again have an incredibly premium finish, and I love how they have embossed the brand logo on one side, along with DITA on the other – it looks minimal, yet stylish.



The nozzle is a bit on the stumpy side, which for my larger ear canals means I need to use very large tips – none of the included Final E tips are big enough, so as usual, I reach for Acoustune AEX or AET07, the former more frequently my top choice. I must note though that the AEX07 softer rubber material has a tendency to slip off the nozzles, I’ve had to pluck them out of my ear on a couple of occasions. I tried also the DUNU S&S tips but found the bass could become a touch boomy at times.



The shells are completely smooth, and I have zero discomfort regardless of how long I listen. They feel incredibly solid and robust, so I expect can likely take a beating…

There are also two vents, one near the nozzle and another beside the 2-pin termination.



Listening Impressions

Mecha have been put to the test now with a number of sources to include the excellent iFi Go Bar Kensei, Sony WM1ZM2, and most recently getting a lot of time hooked up the fantastic GT2 from Lotoo.

Mecha are easy enough to drive, and I have my GT2 currently set to around 34/100 on high-gain (not ‘super high gain’ which is the next step up on the GT2).

In a nutshell, Mecha indeed is the antithesis of Project M – where Project M took a top down approach, Mecha arguably takes a bottom up approach – a deep low end, reaching next to a lush and full-bodied mid-section, finally up to a competent treble that remains airy but steps back a touch, providing a more subdued experience in this region.

Low Frequency

Switching from the segment I have typically called ‘bass’ to what I feel is more appropriate!

Anyway, the eh ‘low frequency’ response for Mecha is a key attribute of the tuning, reaching down to beautifully deep levels in sub, and excellent mid-bass impact and density. In fact, given the prominence here, I have found as noted with the DUNU S&S tips for example that there is a possibility of allowing this region to become overpowered, resulting in a somewhat boomy presentation in tracks with a bass-heavy focus – kick-drums in techno that already have large impact in my experience really illustrated this. With the right tips however, and even with a source that feeds energy into this region such as the GT2, the bass is better controlled with excellent clarity and steps up to perform to at times jaw-dropping effect… I’ve had many moments of shivers through me, and smile to my face, especially with genres like psychill for example where there is a lot of sub-bass focus – it has a real visceral delivery, with both quantity and quality absolutely spot on.

Midrange

As much as the low end, equally the midrange is a solid selling point of Mecha – going back to my ‘bottom up’ reference previously, we step from the low to the mids and continue a journey of excellence with a wonderful clarity, solid note weight, a touch of ‘lushness’ that feeds into the all-important emotive factor, and a spectacular sense of space for presenting complex tracks with great distinction. Both male and female vocals to my ears are rendered authentically, in that central spot and a touch forward – personally, my absolute preference in terms of location and Mecha has this nailed, combining a fantastic balance of density and clarity in delivery. The upper mids take a bit of a stretch, and do approach my personal danger zone at times – I have had a few ‘nervous’ moments where I thought I’d have to hit the panic button, but thankfully they didn’t quite hit that area of sensitivity for me yet, but caution here perhaps advised in terms of tips choices etc.

High Frequency

I have described Mecha already as perhaps polite or subdued up top, but I think both probably do a disservice – there is actually pretty decent extension in the uppers, and very impressive how DITA have managed to tune a single driver to be highly competent in each region. I would say perhaps the most upper regions of the treble are where it falls off, you don’t get the same crisp bite as say a set like the IE900 from Sennheiser.

Technical

While detail retrieval is very good, Mecha does remind me still that there are much bigger kids on the block when it comes to more micro nuances and overall resolution – Turii Ti springs to mind, or indeed the Perpetua big sibling to Mecha… but both are at least 2x the price – Mecha is admirable in this regard, and I find the overall package to be one of a musical focus. Stage size is wide and airy, with ample room for even very complex, fast-paced tracks. Imaging and layering performs well, but again I don’t think you’ll find yourself drawn to specific segments due to imaging precision – Mecha for me is more about the sum of all parts as a single cohesive presentation… probably what has often drawn me to the humble single DD over the years.



Tracks

Milan W. – I Wait



I discovered this excellent album as a result of a 2024 ‘best albums’ list, I think in this case it was the top pick from Boomkat.

This opening track provides an interesting array of instruments and vocals, putting I would say the entire FR on Mecha to the test at various points, to include somewhat climatic moments where multiple instruments and vocals reach a peak that could at times put an IEM to a difficult test… while still a slow track, there are quite a number of instruments at times occupying the mid-section in particular, but Mecha is up to the task, never sounding harsh or congested – in fact portraying all with ease, and indeed a captivating finesse.

Moon Duo – Cold Fear



This one ups the ante somewhat in that it’s a faster track, incorporating some electronics into the mix in this psychedelic rock offering from Moon Duo. It again puts any set to a bit of a test, especially I would say leaning into the upper mid region where the synths take a stretch in this area – Mecha handles well, I would say marginally close to where I might find excessive but still in a somewhat safe zone. The latter part of the track reaches a point where again there are a lot of competing instruments, but all are clearly distinguished with no congestion. Both male and female vocals sound authentic to my ears, with a distinct central/slightly forward position.

As One – Mihara (2024 Remaster)



A huge favourite for me in terms of reissues of electronic classics last year, from the legendary Kirk Degiorgio – his signature melodic infused techno from the 90s that leans more towards chilling than it does dancefloor. The overall presentation is very good, and a great example of my comment with regards to the overall FR presentation being so impressive for a single driver. A slight nitpick maybe is the uppers have a bit of a raw edge to them, maybe a touch more zing would correct – it’s not quite harsh, but I think I’m just missing a bit of the extension that would compensate for the somewhat upper mids emphasis that can occur.

Androcell – Smile On



I mentioned earlier how much I enjoy psychill on Mecha, so it would be incredibly rude of me not to feature a track in this segment! This genre tends to be very well produced, and often sounds fantastic on IEMs – but you need good bass extension, and you need clear and captivating mids – clearly a box tick for both with Mecha. I find this genre almost addictive at times, and especially when I find such excellent synergy as is the case here.

Portico Quartet – Endless



Three words immediately jump out as I listen to this track: silky-smooth (I’m allowing that be one word ), captivating, and atmospheric – this blend of jazz and electronica is perfectly suited to Mecha. The percussion sounds ethereal and lifelike, with a great sense of space across the soundstage, the sax and strings are highly emotive and again have this wonderful sense of space in their presentation.

Bonobo – Black Sands



I always wondered how this track was left till last on the album of the same name – an absolute masterpiece that might be missed if you don’t happen to listen to albums from start to finish, a sad reality it seems these days due to streaming and ‘younger’ generations perhaps choosing to listen to tracks via playlists – actually come to think of it, my wife only recently mentioned she finds herself mostly doing just that lately! Anyway, this for me is a real feel-good track, that never fails to have a few hairs standing on my arms – again here Mecha delivers an ethereal and visceral experience - the double bass has a vibrant and captivating quality, the sax soars beautifully and there is yet again that overall sense of space for everything to shine but still as a single cohesive musical presentation.

Calibre – Second Sun



Always important I test D&B on an IEM – key to get a sense of how a set deals with not only complexity, but complexity combined with speed. Mecha performs reasonably well, but I prefer a faster driver in this scenario – a set like the IE900 for example has quite an edge for me when it comes to a genre like this… the more v-shaped tuning and very snappy driver just holds up better here, where I find Mecha can sound a touch strained in particular with the fast percussion and edgy snares associated with the genre.

Hainback – Brushstrokes



I’m going to end this segment on a high note, not that I was on a low note per se – but the previous track did reveal where I’m I guess less fond of genre synergy. Moving to an album that sits more in an ambient/experimental electronic realm, I again immediately find myself rather captivated by the tuning – the spacious, mid-focus presentation is wonderfully engaging, and definitely a genre preference for me with Mecha.

Comparison

IE900

My trusty IE900, like an old friend you’ve not seen for a while yet can jump straight into a wonderful conversation as if you’d only had a beer together the day before. The most immediate difference I hear is the resolution, IE900 for me steps forward from an overall resolution perspective, and at the same time sounds ‘snappier’ in how it handles complexity in particular – it has an obvious speed advantage, where Mecha takes a slower route. The higher range of treble here is also obvious, and I do appreciate that extra crisp ‘zing’ on offer up top – it must be noted however that some have found this excessive on IE900, so it really depends on your age/tolerance in this region. IE900 steps back in terms of midrange density, and sits slightly behind. There is probably a similar performance in the low end, but Mecha has more quantity from a mid-bass perspective, IE900 is again more snappy here with a faster recovery from impact. Overall, I would still reach for IE900 when it comes to faster electronic genres such as techno, trance or D&B.


Conclusion

Good things come to those who wait, and indeed let’s paraphrase that to say ‘great things come to those who wait’ in the case of Mecha. DITA took their time to perfect this set, and in my opinion they did just that – from the moment I plucked the IEMs out of the foam, to the several weeks of becoming familiar with their tuning, I can see/hear/feel they’ve really executed yet another true labour of love with Mecha… the Perpetua DNA is very evident, and they share more in common with the flagship than they do with the Project M which takes a different, yet still excellent direction.
While Mecha for me works with most genres, not necessarily a set I’d classify fully as an all-rounder – broadly speaking, I have tended to prefer more relaxed genres where the driver and overall tuning sits better for me. I can’t quite pigeon-hole as a ‘specialist’, but nor is it a champion all-rounder… sitting somewhere between the two I guess – it does most genres well, and some really well. What is often interesting for me is when a review is completed, and where I find myself reaching for that set thereafter to just enjoy music – my hunch here will be mostly psychill, ambient, and the likes of spiritual jazz to name a few.

As noted in the introduction, I have huge admiration for the careful approach DITA appears to have towards their product release cycle, not rushing anything, but building something they can stand proud over – I’d be surprised if those at DITA HQ aren’t delighted with yet another wonderful achievement, and I look forward to seeing what else emerges in 2025… or 2026, no rush DITA, we know you will deliver

NiceHCK NX8
1x DD, 6x BA, 1x PZT - $199

Available directly from NiceHCK HERE



Introduction

I was aware of the NiceHCK brand for quite a while, mostly due to their prominence in the cable space. In early to mid-2024, an opportunity arose to review their ‘Himalaya’ flagship single DD, a set I really enjoyed at the time, and gave me a sense as to what NiceHCK could achieve in the IEM space. When they reached out again to see if I would like to try their latest tribrid, it was hard to say no – even though I really am trying to say no now… there is no such thing as a free lunch.

Disclaimer: NiceHCK sent me the NX8 in exchange for my review, as I always, all thoughts and pictures are mine without any input from the brand. I would like to thank NiceHCK for the opportunity!

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



Specifications:



About NiceHCK

“NiceHCK was founded in 2015 by the HiFi Music enthusiasts and acoustic engineer.
Focus on R&D and selling HiFi iem earphones, iem headphone cables and audio accessories to global customers that combine creative design, high performance, premium quality and affordable price. Provide well customer service support worldwide”

Unboxing & Accessories

I’m a bit of an unboxing snob, which means I’ve an expectation for high standards when it comes to packaging and accessories, even though logically I know it really doesn’t matter a whole lot… blame the fact I worked in the industry for so long, and I guess being spoiled by brands like DUNU and FIIO to name just two. So with that ‘disclaimer’ of sorts out of the way, the NX8 falls into a bit of a ‘meh’ category in this regard – nothing wrong, you get what you need and the packaging does what it is supposed to, just no really warm fuzzy feeling, let alone a wow factor.



As noted, you get what you need in terms of accessories – a selection of tips (in a case thankfully, not a rubbishy/cheap little Ziplock bag), a cleaning brush, some spare nozzles (which don’t make a tuning difference, just literally spares), plus what I consider a decent IEM case.









Comfort & Fit

The shells are very small, especially considering there are 8 drivers packed into each side. They are made from a 3D printed resin, and very smooth with no protruding uncomfortable edges. As always, tip experimentation is encouraged - I personally found I needed to use the largest in my collection as the nozzle is a touch stumpy.



The stars/galaxy finish on the outer segment is a simple, and somewhat unassuming design. While they are not ‘bling’, they aren’t totally minimal either, I’m not quite sure what they are really to be honest – but for me what matters is that they are small and comfortable. I’ve worn out walking countless times over the last few weeks, and never an issue with comfort – they can be worn for hours without an issue.

Of course, being a multi-driver set that contains a DD, they naturally have a vent and as such no problems with pressure build.



Listening Impressions

I’ve had the NX8 for several weeks now, and they’ve been put through the ‘morning walk the dog’ test on several occasions, giving me a good opportunity to evaluate numerous genres on these early morning, often quite cold winter walks around my neighbourhood. The NX8 isn’t fussy, and will happily play anything from the most chilled ambient, to complex electronic or classical – it is a rather balanced tuning profile, that as is often the case, leans a touch warm and with a sub over mid-bass bias – a positive box tick for me, as I do prefer sub extension over mid-bass prominence.

Bass

Sub-bass extends well with a decent sense of rumble when called for, yet never overpowering. Mid-bass kicks with good authority, nothing too dense and has decent speed. I’ve found it perfectly capable and realistic whether it’s a deep synth, kickdrum, bass guitar to name a few…

Mids

The mids are clear and again that touch of warmth is evident, allowing both male and female vocals in my experience to sound authentic and with a delivery that is central and slightly forward. There is a nice sense of note weight, with what I would consider a good balance of being not too thick, but nor is it a thin presentation. The upper mids are polite, and never stray into anything shrill or harsh – with that in mind, it is a touch safe and perhaps lacks the emotive edge from this region when dealing with violins or some of the higher registers of female vocals for example. Broadly speaking, the mids are well executed with plenty of space and clarity.

Treble

Moving on to the treble, the theme sort of remains the same in that it is in keeping with the overall well-balanced tuning – safe, but with a nice sparkle and good sense of air which allows some of the smaller details to shine. In my countless hours of listening, I have not once encountered anything harsh or too zesty up top, no matter what genre I choose.

Technical

There is a good sized soundstage both from a width and depth perspective, and an impressive level of detail retrieval – easy to pick out small nuances in complex music. The layering presentation works well, albeit nothing ground-breaking or attention grabbing per se – but I think well executed in that there is a cohesive focus in the tuning, allowing you to just enjoy your chosen music. Again, the clarity and balanced tuning really does allow for zero congestion even in the busiest of tracks, and I have tried many.

Test Tracks

Voice Actor, Squu – Rattle



A rather simple yet captivating track from the excellent album ‘Lust (1)’. I love the extension of the swirling synths, giving a good sense of space to the stage. The kick drums hit with good authority and you can hear and almost feel the thud – yet with sufficient speed to not linger beyond their call of duty.

Jessica Pratt – By Hook or by Crook



This is a great example of how the NX8 handles female vocals and more subdued instrumentals. Jessica’s voice has good body, positioned centrally and a touch forward – sounding lifelike with a sultry and captivating tonality. The accompanying instruments sound silky smooth, and support the vocals in a well-behaved, and articulate manner.

VC-118A – Spiritual Machines



Moving back to electronica, and in this case an electro vibe, with slight offbeat percussion that again showcases the mid-bass authority, but also reveals the capability more up top, demonstrating the safe, subtle, but sufficiently airy treble. While not overly complex, the track does progress to a reasonable amount of percussion and synth layering, giving again a feeling of a soundstage that extends outside my head, and indeed impresses when taking the size of the shells into consideration. This is very typical of an album I’ll choose for those early morning winter walks, there is a dark almost foreboding character that not only suits the surroundings, but also works really well on the NX8.

Banco De Gaia – Drunk as a Monk



Another morning favourite, but probably more as the Spring months kick in – there is an uplifting vibe to Banco De Gaia in general, but also highly emotive and many tracks quite epic in terms of runtime… something I’ve quite a soft spot for when done right, which Banco indeed always excels in.

There is quite a long intro to this track, which involves somewhat dominant percussion – this demonstrates the well-executed treble where it extends well, allowing a crisp and airy presentation of the hi-hats and snares. As the track progresses, we are greeted with very captivating melodies that occupy both the middle and spread outwards left and right. The chanting vocals make their appearance, and again have excellent clarity and sit nicely in the mix with the synths and percussion. It is a busy enough track at times, yet the NX8 never breaks even the tiniest bead of sweat, handling it all with ease, and sounding really nice at the same time.

Comparisons

AFUL P5+2

The P7 immediately sounds brighter, and somewhat more detailed as a result too. There is an obvious sense of airiness, which leads to a more spacious and layered sense of space in the presentation. The NX8 I would say has a touch more bass, and leans warmer – obviously, seeing as I just said the P7 sounds brighter… but hey, worth pointing out! Actually a tough call here, both perform incredibly well at the price points, and a lot more in common than in contrast – slightly different takes on a similar tuning I would say, with the NX8 being a touch safer due to the more subtle treble response.

BGVP NS10 Pro

And now for a set that hasn’t had much attention from what I can see, and in my opinion that is a shame – the NS10 Pro is a deviation from the more conventional tuning of both the NX8 or P7, taking a step into more risky waters where it plays more in a slightly specialist territory – brighter than the P7, which means of course brighter than the NX8 and has an edge or bite in the upper mids that can add a touch of magic when called upon, especially in those violin or even higher synth register moments that lead to some hairs standing due to the emotive kick. Early days for me with the NS10 Pro, but I would say the edge will be won in particular with less complex arrangements, and definitely more emotive for genres that I personally love such as ambient or modern classical – the NS10 Pro manages to better captivate, especially with those somewhat risky upper mids… a topic anyway for a later review. The NX8 and P7 both safer and more competent all-rounders, but the NS10 Pro has a emotive and captivating slant with the right music.

Conclusion

The NX8 to my ears is a solid, impressive all-rounder, or jack (or Jill…) of all trades – it will happily play any genre that takes your fancy, and sound at the very least good, if not very good. It perhaps lacks a touch of magic somewhere, be it a hefty dose of bass, thick and emotive mids, or ultra-sparkly uppers – the theme really is one of safety and balance – not doing anything wrong, but maybe not wowing you either. Overall though, it is an excellent recommendation if you want something that just works, no matter what the genre and I would expect pretty much guaranteed a good fit and comfort.

All things considered and especially at a $200 price point, I think the NX8 is a solid 4.5-star IEM and certainly one I recommend if in the market for a set that will play well no matter what you throw at them. The only reason I’d say not a 5-star is simply as there is a bit of a lack of pizazz in the tuning, the safety keeps them safe, but maybe just doesn’t quite captivate when some music seeks to do so.

Kiwi Ears Orchestra Lite

8x BA - $249.99

Introduction

This is my second experience with a Kiwi Ears, the first being the excellent ‘KE4’ which were the subject of a review a few months ago… which feels like years in IEM time.

I’m quite a fan of all BA sets, in a similar way but not quite as much as I am a fan of single DDs. While a totally different configuration, I find they often share a consistency in terms of the type of sound being presented, which often has a very cohesive flow – I guess as there are no other drivers fighting for my attention.

This review is a bit overdue, a lot of life stuff got in the way lately and perhaps too many items in general in the review queue. I’ve said it before, but mean it now – I am slowing down big time with the reviews, time to just enjoy my music again! I few left however, and without further ado, time to jump in with the Orchestra Lite.

Disclaimer: Kiwi Ears sent me the Orchestra Lite in exchange for my review, as I always, all thoughts and pictures are mine without any input from the brand. I would like to thank Kiwi Ears for the opportunity!

About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



Specifications:

Drivers: Kiwi Ears Customized HI*2+Kiwi Ears Customized MID*4+Knowles LOW*2
Impedance: 18 ohms
Cable Interface: 3.5mm
Sensitivity: 112dB
Plug Type: Detachable 0.78mm 2Pin
Nozzle Diameter: 5.5-6mm

About Kiwi Ears

Driven by the pursuit of extraordinary audio reproduction, at Kiwi Ears, we create the perfect amalgam of technological innovations with refined tuning strategies. With musicians and studio engineers particularly in mind, we are on an uncompromising quest to produce the finest professional In-Ear Monitors that will reveal every nuance in your music and performance. Never settling for mediocre, our small team of dedicated engineers handcrafts each unit so that you can worry less about what’s in your ears and focus more on the sounds you are making. We are Kiwi Ears, and we’re bringing you music heard like never before.

Unboxing & Accessories


First off, I think Kiwi Ears could improve on their overall unboxing experience and accessories. While I fully appreciate that ultimately the sound is what matters most, I do think first impressions are important too, and especially at this price point in a very competitive market.





Included in the box is a case (which while practical, just looks and feels a bit cheap in my opinion), 3 bags of tips in the usual S/M/L sizes, a 3.5mm cable and of course the Orchestra Lite.



I was going to have a moan about the cable and the fact they only provide 3.5mm, but to be fair, the Orchestra Lite are driven wonderfully single-ended so it would be an unfair rant. The IEM world has really been converted I guess at this stage to 4.4mm, and it feels almost wrong when you don’t have this option, but I’m coming around to the fact that it’s just not always needed, as is the case here.



So with the termination out of the way, I really like the stock cable – soft, supple, easy to manage, no microphonics, comfortable… what more could one ask for?!

View attachment IMG_2044.jpg



Comfort & Fit

The medical grade resin shells are beautifully finished, with a very premium look and feel. The relatively compact-medium size also allows for excellent comfort in extended sessions, and given there are no vents, they also provide excellent isolation.



Under pressure…

It must be noted that the lack of vents can lead to pressure building up – I am very sensitive to this, and did indeed experience initially with Orchestra Lite. I’ve however got around this challenge by choosing tips to alleviate, such as Tanchjim T300 or TANGZU Tang Sancai which I’m currently using, and with excellent results… i.e. no pressure build!

Listening Impressions

Most of my listening has been via the Sony ZX707 and Aune M1p.

As noted in the intro, I really enjoy all BA sets. I understand the DD purists view on how a BA can’t quite perform as a DD does for bass, and while I agree – I believe there is a place for both in a collection… or indeed for those of us who only want to own one set (do these people exist?!), it becomes a choice based on preference, and probably importantly, music preferences.

The Orchestra Lite (‘OL’ for the remainder of the review…) is loaded up with a total of 8x BAs, impressive considering how small the shells are.

In my experience, I find OL wonderfully suited to genres that lean more relaxed such as atmospheric or ‘spiritual’ jazz from the likes of Matthew Halsall, and indeed vocals, acoustic, ambient, and modern classical. There is a beautiful natural, warmish tone, and the mids lend a real ethereal experience to these genres – coupled with the fantastic comfort, they make for incredibly relaxing listening. I’d be less inclined to load up genres such as techno, IDM, or trance for example – all of which I listen to a lot of, but in these scenarios certainly prefer a DD to deliver, particularly for kick-drum impact… however, I must say this set is no slouch if you do stray off down any of these lanes.

Bass

The trade-off here versus a dynamic driver is speed and detail, versus visceral impact or thud in mid-bass kick with a DD. Mid-bass with BAs can come off a bit soft, and just lacks that slam associated with DDs – and OL doesn’t do anything to change this, in my experience. However, we do have a nicely balanced low-end performance, that can extend nicely for the lower sub-bass realms, and while it’s kick has that softer edge, it still has a good amount of quantity and quality is certainly admirable, there is wonderful detail and texture available when listening to bass guitars or lower registers of any instrument you might choose to enjoy. The clarity is fantastic which again is something I have appreciated with any all BA set I’ve owned – nothing overpowering or muddy, and I really enjoy how they portray synths for example in electronic music, absolutely delightful texture and highly captivating.

Mid-range

Possibly the star of the show here, but I almost dislike saying that as it suggests that other areas are substandard, which they are not – I guess the mids on balance really do stand out. Male or female vocals, acoustic or electric guitar, piano, synths, violins etc etc etc… to my ears all beautifully rendered most of the time with a natural, captivating, sensation – a realism, a touch of warmth, yet excellent clarity and lots of space for everything to shine. Mids sit very much in the eh, middle and vocals have that slight step forward in the presentation which I personally really appreciate as it tends to sound more authentic. I often find myself closing my eyes and soaking up the mids in tracks that are more focused in that direction, perhaps why I choose this set so often for my beloved and extensive collection of ambient and modern classical music.

Treble

This region while polite and safe, still has a nice sense of air and a touch of sparkle – this means a degree of ‘safety’ perhaps with most genres in that the OL will very rarely lean harsh or sibilant. Some might want more bite up top though, I would not describe OL as a ‘treble head’ set. All of that said, I’m not left wanting when it comes to hi-hats, snares or indeed the upper most registers of violins or synths – OL soars nicely to these regions, providing a captivating and subdued experience.

Technical

The performance here is very impressive, especially at this price point. There is a reasonable sized stage, and while not laser-pinpoint imaging, you can certainly clearly hear the individual elements, but the tuning for me leans more in a musical cohesive direction. The timbre sound natural, with a touch of warmth. There is excellent clarity across the FR with zero sense of congestion with even the busiest of passages – I would expect this with 8x BAs in action! Details both macro and micro are precise and nicely rendered without ever sounding clinical, again, it is a more musical experience.

Test Tracks

Studio – Out There



This album has just been reissued, and interestingly, not just on CD and vinyl, but also cassette and even Mini Disc! A bit of a hidden gem, originally released in 2006 and apparently the artist chose not to have available streaming for quite some time, however upon checking Tidal today I can see it is there now, so perhaps to coincide with the physical reissues. Anyway, I’m very pleased to now own a copy on vinyl, to complement the CD I’ve had for many years. With that out of the way, how does it sound? – in a nutshell: excellent. This opening track is quite a journey at almost 16 minutes long, meandering through a whole bunch of genres that flow and evolve into each other. The OL handles the complexity very well, but perhaps a touch flat in comparison to more technical sets – the dynamics don’t feel fully up to the test here… a bit of a nitpick though really, as otherwise very engaging throughout, and again, the mids really shine – check out the segment from around 8.43… absolutely wonderful.

Oliver Coates – One Without (Aftersun Original Motion Picture Soundtrack)



First of all, this is one of the saddest films I’ve watched in a long time, but it has a really beautiful soundtrack, and I think what I’ve chosen here is a great example. While the previous track sounded very good, this sounds fantastic and again demonstrates where I feel OL shines – the strings are so beautifully captivating, and soar with ease in both directions. It is a minimal piece, but packed with emotion and I find the OL depicts this perfectly. I often set aside review sets once the review is done, but I can see OL continuing to feature when I load up albums like this.

Still Corners – The Ship



The vocals present here very well, but perhaps a touch dry (note my reference to ‘most of the time’ in the mids section above) – the strings again as per the previous track are beautifully rendered, likewise acoustic guitar when it makes an entrance later on. Percussion spreads out well and has a nice realism. The electric guitar later on sounds very captivating, and sits well in the mix as the track reaches a sort of climax.

Jamie xx – Dafodil



This is where OL doesn’t shine for me – it plays fine, there is nothing offensive or harsh, but I find this is where I need a DD for the low-end, and perhaps mids not quite as emphasised – it sounds a bit too forward overall, and while not congested as such, it just doesn't sound right to my ears and again I can’t really recommend OL for genres like this… so much so that I was actually eager to hit stop once I’d finished evaluating!

Conclusion

The Orchestra Lite for me is a solid offering for those who appreciate an all BA set. I do not consider it an all-rounder, more of a specialist, but where it does specialise, it does so with a wonderful finesse, delivering a highly captivating performance for more subdued genres in particular – for me they include modern classical, ambient, acoustic, spiritual jazz to name a few. Combined with the comfortable shells, and especially once you’ve chosen the right tips, I feel the OL is a very nice example of an all BA set at a competitive price.

Nostalgia Audio ‘Durandal’
Configuration: 1x DD, 4x BA, 2x BCD
RRP: $2,419

Introduction

I was first introduced to Nostalgia Audio (NA) in early 2023 when I was given the opportunity to review the now legendary ‘Camelot’ – NA were pretty new to the scene at the time, and while there were already a small few fans of Camelot, it was still a largely unknown and definitely under the radar set. It is no exaggeration to say that Camelot quite literally became a game-changer for me, still to this day the benchmark IEM in terms of price-to-performance and my personal ‘sense-check’ versus pretty much any other set that arrives in that price arena, and often quite a bit more. Fast forward to now, January 2025, and safe to say at this point that Camelot thankfully has the attention it so absolutely deserves, quite a few fans in the hobby and still a set I’m always delighted to read when someone tries for the first time – always at least impressed, and often blown away!

Anyway, I’m getting carried away again with Camelot – this review is for their much more recent ‘Durandal’, and retains the sword theme that began with Camelot… I promise I won’t use that C-word again until a comparison later on J

I would like to thank Adrian in Nostalgia Audio for sending me Durandal for review, it is much appreciated and as always all words and pictures that follow are mine, with no input from the brand… the pen is mightier than the sword (I’ll get my coat…)

Durandal is available from various stockists around the world, linking here directly to our good friends at MusicTeck - HERE (non-affiliated of course!)

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



Driver Configuration

• 1x DD – Low Frequencies
• 2x BCD - Mid-Low frequencies
• 2x BA - Mid-High frequencies
• 2x BA High frequencies

Specifications

• 4-way Crossover Design
• Impedance: 15 Ohms @ 1 kHz
• Frequency Response: 12 Hz - 30 kHz
• Sensitivity: 115 dB @ 1 kHz, 1 mW

Unboxing & Accessories

It’s hard to imagine how the bar can be raised any higher when it comes to an unboxing and set of accessories, but clearly the labour of love from NA here is evident from the moment the box first lands in your hands… and yes, that bar is raised. Yes of course the hard-earned cash is ultimately for the joy of sound, but an unboxing like this certainly adds to the experience – I was honestly quite gobsmacked opening the package on arrival.

A few layers to get through here, which of course adds to the excitement... at least for me anyway

Fit & Design

I’m going to start here with a not-so-good bit, and that is driver flex. I have experienced this to varying degrees over the years, and appreciate it exists and the reasons why – for readers who may not be familiar, it’s essentially the dynamic driver ‘popping’ as the diaphragm of the driver is displaced due to changes in air pressure typically on insertion. This is usually a brief pop or crackle on initial insertion, and while a bit unpleasant, you quickly forget about it – and aren’t bothered either when you know it exists, and isn’t a defect or harmful to the IEMs or indeed your ears. Where I find Durandal unique, is that I get this driver flex on insertion in both ears – but, I then get it again after a few seconds just in the right ear – I must say it is unpleasant when it occurs again as it’s a bit louder, and a bit more intrusive as you are then a few seconds in to whatever you are listening to. This might be unique to my set, but I have to mention due to the experience.



With that elephant out of the room, let’s move on to more positive things! The shells are a medium size, impressively compact, and light considering the number of drivers.

The nozzle is relatively stumpy so depending on the size of your ear canals, you might have to play around with various tips. I’ve ultimately landed on the included Symbio W in large and find these perfect, clearly NA put thought into this in terms of fit and synergy, so if you buy a set, or indeed already own a set, I recommend trying them. As always with sets incorporating BCDs, you want a very good fit to ensure they are resting on the walls of your ear canals.



Once in my ears, I find them very comfortable and no issues listening for extended sessions.



Styling is very subjective and I typically prefer minimal styling – nothing bling that stands out, so I guess Durandal are the polar opposite of my usual preference! I have to give it to NA though in that regardless of my style preference, Durandal are finished beautifully, with a stunning intricate design adorned on the outside of the shells – incredible attention to detail and highly unique.

Cable

NA partnered with Vortex Cables to create the ‘Hruodland’ as the stock cable for Durandal. This is a lace style cable, think perhaps a sturdy shoelace that might come with a pair of hiking boots and you will get a sense as to the material and weight – relatively heavy and thick, but incredibly well made – it feels and looks wonderfully premium.



The cable ships as standard with 4.4mm termination, and I’m not aware of an option to change this.



The full cable specifications are as follows (from the NA website):

• 2 Strands 21.3 AWG 4N OCC Silver and Silver Plated 5N LC-OFC Copper Shielding
• S-Z Stands with Shielding Twined pair design
• Customized flexible nylon wrapping
• Gold plated high quality 4.4 mm balanced termination

Listening Impressions



I’ve mostly listened to Durandal with my Sony 1ZM2, and more recently with the Lotoo GT2 and iBasso DX340.

I would broadly describe the tuning of Durandal as well-balanced with a reasonable bass boost. While it’s not overly energetic, there is a touch of energy that can, at times, lean a bit harsh on poor-quality recordings… an arguably common enough challenge with sets like this. The bass certainly steps forward, with a considerable level of both mid and sub-bass available when needed. The mids have good warmth and body while remaining sufficiently transparent and detailed. The treble extends well and is reasonably crisp and detailed.

Bass

I’m often reluctant to label a set as ‘bass head’ level, but I think it’s fair to say that Durandal will satisfy those seeking substantial sub-bass depth and impactful mid-bass. I loaded up some of my favourite techno tracks, a genre I frequently use to assess mid-bass impact, and I was not left wanting. The kick drums absolutely pound, landing right in the middle of my skull with huge impact and outward resonance. It evokes that nightclub sensation where the bass is truly felt inside your head…not that I've been to a nightclub in ages; just the thought of staying out past 11pm these days gives me shivers...

The sub-bass extends deeply, providing a visceral and cavernous sensation when called for. The rumble in the lowest registers of synths for example is very impressive. There is ample detail also for instruments such as bass guitar and piano to both feel the lower frequency, while at the same time hear perhaps the vibrations of the strings.

Midrange

This is where the bone conduction driver magic comes to the fore, and I must say it's one of my favourite elements of the Durandal. The presentation is rich, lush, and features a highly captivating tuning that seems to emanate outward from inside your head, thanks to the BCDs at work. Both male and female vocals are rendered with excellent authenticity, occupying a slightly forward and central position. Accompanying instruments in this frequency range, such as acoustic and electric guitars, sound lifelike and captivating, with plenty of room to breathe, even during busier segments with additional instruments in the mix. The Durandal truly excels with genres like modern classical or ambient, offering a highly captivating and immersive experience due to the mid focus and the visceral sensation of the bone conduction drivers in this region. The upper realms of, say, violin strings soar with an angelic grace, giving that ‘hair standing up on your arms’ feeling.

Treble

The treble is the only area where I feel the need to nitpick, perhaps due to being spoiled by the wonderful EST implementation in the Camelot, as one comparison. There is a good sense of airiness and no issues with detail retrieval. Percussion, especially hi-hats, is rendered with good authenticity and positioned correctly to my ears within the soundstage. Where the nitpick comes in is with the more visceral sensation that ESTs tend to provide, which I find somewhat lacking here with BAs. On the flip side, maybe beggars can’t be choosers here, given the impressive experience available in both the low and midrange frequencies. There's no noticeable sibilance, and the treble extends well without becoming fatiguing. The resolution is impressive, capturing the nuances in high-frequency instruments like cymbals and violin strings. There are times however where lower quality recordings can come off a touch harsh.



Technical Performance

The balance of cohesion, along with impressive imaging and layering within a reasonably large and holographic stage, is incredibly well done. Nostalgia Audio has executed this beautifully, emphasizing the overall musical experience while allowing you to zoom in on specific elements if you choose. Some sets may draw your attention to specific elements more than providing a cohesive listening experience. This isn't to say one approach is ‘right’ or ‘wrong’; there's always room for both in a collection, offering buyers a choice based on individual preferences. Durandal is definitely not a clinical or analytical set. It targets a more musically captivating direction, largely due to the bass and mids focus, especially with the bone conduction drivers at work. The overall tone as such has a degree of smoothness to it, a sense of natural flow that really excels with high-quality and modern recordings in particular.

Timbral accuracy, to my ears, is authentic, be it instruments or voice. However, I do consider this to be a somewhat subjective topic, influenced by how we, as individuals, have experienced various instruments throughout our lifetimes…

Test Tracks

Still Corners – Today is the Day

I’ve been a fan of Still Corners for a number of years now, and I must say that Durandal does them every bit of justice they deserve. Vocals are rich and vibrant, located in that central and slightly forward position—the BCDs create a sensation where you feel like you can almost touch them. The bass guitar strums along slightly in the background, likewise the acoustic guitar, while the electric guitar steps forward in the mix when it emerges. Everything sounds in its right place, with distinct imaging yet an overall cohesive presentation. Absolutely fantastic.



Kelly Lee Owens – Dreamstate

This is an interesting one, as I find it touches almost on an area of sensitivity for me, but not quite. I can’t put my finger on it, but perhaps I’d prefer tuning that leans more V-shaped for a track like this, where there is quite a lot of midrange activity between vocals and synths. It’s not harsh or jarring, but I feel it might be a touch too energetic, as I mentioned in my opening remarks. It sounds good, but not excellent, and overall, it’s not an album I’d feel inclined to choose Durandal for.



Glasbird – Passerine

I’ve chosen this as I know it will be a great example of where Durandal consistently shines for me. Before even hitting the 60-second mark, this track is sending shivers through me, making me feel like just kicking back and immersing myself in the experience. It is again a fantastic example of where well-implemented BCDs, sitting in the midrange, can be absolutely spellbinding and utterly captivating. There is no question about it, Durandal is a perfect set if ambient or modern classical are genres of choice... smooth, visceral, and utterly captivating.



Inkipak – Waves

Moving back to a more upbeat number here from the excellent ‘Phokusd’ by Inkipak. While it’s a rather energetic track from a percussive perspective, the synths are more melodic and subdued, so overall the track flows quite smoothly, despite the complex and fast-paced drum programming. Durandal does a fantastic job with this track... across the entire frequency range, the rolling bassline, melodic synths, and fantastic percussion are effortless and really engaging. By the way, if you enjoy this track, I highly recommend checking out the full album, and indeed others by Inkipak.



Jamie xx – Treat Each Other Right

Given the success with the previous track, which challenged my findings with the Kelly Lee Owens track, I thought I’d fire something more upbeat back into the mix, and this is certainly a good test. ‘Treat Each Other Right’ by Jamie xx is a real nod to early 90s hardcore and rave. Durandal showcases the kickdrums with fantastic authority—you really hear and feel that ‘slam’. The vocals sound evocative and captivating, while the accompanying melodies stroll along in tandem with the vocals. Durandal yet again does a fantastic job overall... proper head-nodding, foot-tapping stuff. This entire album is excellent too.



Globular – A Highly Sprung Spring

I listen to a lot of psychill and dub, and Globular is a great example of the genre. In fact, I typically reach for this genre within the first 5 tracks of testing a new IEM on arrival. It’s great for testing across the frequency spectrum and gauging that all-important ‘emotive connection’. Indeed, that box is ticked with ease... you’ve got the deep sub-bass, lush mids, and treble extension that allows for the percussive elements to shine, providing a sense of stage extension as the somewhat subdued hi-hats hit. I have to emphasize the highly emotive nature of the tuning and how perfect it is for a genre like this.



T.R. Jordan – Encoder Error

What an utterly beautiful, spellbinding, and almost tear-inducing track this is. I listen to this album on a reasonably regular basis, and this track in particular always seems to go straight to the heart. There is a sense of nostalgia to it, connecting me with a time I can’t quite pinpoint, yet I feel a sense of connection to this unknown time or place. Durandal renders this beautifully - the mids are wonderfully captivating, and it’s hard to articulate the sensation it provides. Visceral, haunting, and emotive don’t quite do it justice, but I hope you get the picture...



Comparisons

As noted, Camelot is one of my favourite sets of all time and has been for almost two years now. So does Durandal knock Camelot off the throne? Ehm, no—but it’s not a clean cut (pardon the sword pun). They are certainly complementary sets, and both do what they do well, really well. To cut to the chase (sorry!), Camelot remains my preference due to its more balanced tuning, and edge in resolution, clarity, and detail, which align more with my typical preference. However, Durandal takes the lead in terms of emotive, captivating tuning with smooth, rich, ultra-embracing mids. Durandal also has more bass quantity, whereas Camelot steps back a bit here but excels with its excellent dual-DD implementation, particularly in rendering sub to mid-bass. Camelot also boasts some of the best EST treble with excellent crisp, airy, visceral extension, which for my ears beats the BAs in Durandal. Ultimately, both are wonderful examples of slightly different approaches, so it depends on your preferred direction.

Conclusion

Durandal continues a wonderful legacy of excellence from Nostalgia Audio. It's great to see more boutique brands like this maintaining slower release cycles with huge attention to detail. From the unboxing experience and the unbelievable array of accessories to the intricate design of the IEMs themselves, this truly feels like a labour of love. There's a real sense of pride and passion from the brand, which ultimately lands in the buyers' hands… and more importantly, in their ears.

Durandal focuses on musicality, offering an emotive and highly engaging listening experience. It’s a set I’ve grown to love more over time as I became more familiar with its somewhat distinct tuning, especially with the midrange BCD implementation. This set didn’t click with me in the first couple of days—it definitely took a bit of time, which for me yet again is an important lesson in this hobby. Some IEMs take a bit of ‘work’ to appreciate, and once they ‘click’, there is no turning back.

I would like to thank Nostalgia Audio again for providing this unit for review, and I look forward to seeing what they come up with next… perhaps a Japanese Samurai theme to continue along the sword path?!

FIIO TT13 Turntable
RRP: €289.99



Introduction

My very first memory of vinyl dates back to around 1981 when I was just four years old. It was on a tabletop 3-in-1 system (turntable, cassette, and radio), and I can vividly recall where it was positioned in the living room of the house I lived in at the time. I’m quite certain of my age because we moved to another house later that year. I was fascinated by that system and would often ask my Mum to put on various records, watching the vinyl spin on the platter and hearing music fill the room. I have no doubt that my love for music and technology began in those moments!

Fast forward to 1994, and I purchased a pair of Technics SL1210 MKII turntables after falling head over heels for electronic music in the early 90s. From then on, I began building a record collection, which quickly grew to over 5,000 records… and counting, albeit more slowly in recent years! The 1210s became my ticket to sharing my music passion, whether it was at parties, pirate radio stations, or venues… and indeed countless hours of spinning records in my bedroom. The SL1210s, built like tanks, travelled to many a party in the ‘90s and remain functional to this day, an enduring testament to Japanese engineering of the time.

Now, as 30 years have passed, and it’s 2024… well, 2025 now as I type - but I received the FIIO TT13 in late 2024, three decades after buying my trusty 1210s (one of which is still my go-to for playing records, though I retired my DJ shoes long ago!). Reading through the features of the TT13, I couldn't help but marvel at how much technology has evolved since 1994. Back then, a turntable was purely an analogue affair—no frills, just vinyl, cables, and amplifiers. The idea of wireless streaming, let alone aptX HD, would have been pure science fiction when my 1210s rolled off the Technics production line.

Bluetooth of course wasn’t even a thing in 1994… it didn’t officially exist until five years later. Fast forward to today, and here I am with the TT13, a turntable that still spins the same physical vinyl records but can also stream music wirelessly in high resolution. It’s incredible how this timeless format has embraced the future while staying true to its analogue roots. I actually received the BTR17 from FIIO around the same time, and it has been wonderful to play vinyl while sitting at the other side of the room, and whatever set of IEMs I happen to feel inclined to listen to… I know, one could argue why not just hook up my DAP?! – I like and indeed still love the experience of vinyl, as I do CD – the focus of flicking through my collection and choosing an album – I find I listen in a more dedicated way from start to finish, where with digital I can be more inclined to change my mind a few tracks in occasionally - and of course to get those few clicks and pops...

Anyway, I would like to thank FIIO for sending me the TT13 for review and as always, there is no input from them as to the content that follows.




Unboxing



The TT13 is relatively heavy at almost 4kg and naturally because of its physical size, comes in a rather large box. Unlike a DAP or IEMs, I don’t think there is a whole lot to say really on the unboxing – it is what is, the turntable is packed well, and a quick and easy affair to extract from the box...









Parts List

• Cast aluminium turntable
• Platter mat*1, Power cord
• RCA audio cable (including ground wire)
• Custom infrared remote control
• Quick start guide
• Warranty card
• 7-inch large hole 45 RPM record adapter

Specifications

• Power input: AC 100-240V~50/60Hz; DC 12V/≥1A
• Headphone amplifier: JRC5532*2
• Line output: L+R≥800mV+800mV (1kHz/0dB signal disc)
• Bluetooth transmission support: SBC/aptX/aptX LL/aptX HD
• Cartridge: Audio-Technica AT3600LA
• Tonearm material: Brass + surface-sprayed paint
• Counterweight material: Surface anodized aluminium alloy; the white model undergoes electrophoresis
• Speed: Supports 33-1/3RPM and 45RPM
• Wow and flutter: ≤0.15% WRMS (33-1/3RPM)@3kHz
• Signal-to-noise ratio: ≥75dB (A-weighted)
• Dimensions: About 450*350*114mm
• Weight: About 3850g

Setup

The TT13 is very easy to set up, and I was up and running in just a few short minutes. However, I must note a mistake I made during setup… and one to be cautious of. The supplied RCA cable includes a ground wire, and out of habit, I connected this along with the RCA cable to the phono input on my amplifier (Audiolab 6000A). What I was forgetting at the time is that the TT13 has a built-in phono stage, which means the signal is already amplified. When I innocently switched on the amplifier and, with great excitement, hit the start button on the TT13, the needle landed, and I was greeted with an almighty blast of noise! The pre-amplified signal from the TT13 was being processed again by the amp’s phono stage, causing distortion. I quickly powered everything off, reconnected the TT13 to the AUX input instead of the phono input, and everything worked perfectly after that… a nervous moment though wondering whether I might have blown a speaker, thankfully not. This step may not be applicable for those of you choosing to connect to active wireless speakers and not directly into an amplifier.

It would be interesting to know if you can choose to bypass the built-in phono stage, and use an external such as within my 6000A - the RCA out from the TT13 does also have a ground terminal, which is what led to my error above - in seeing one, I defaulted to inputting to the phono stage.

In the photo below, the inputs to the far right are where my 1210 is currently connected, along with the grounding terminal. The TT13 in a nearby AUX input.



Another step worth mentioning because it’s not detailed in the quick start guide is attaching the rubber belt to the turntable’s drive pulley mechanism. This step is crucial, as the belt connects the motor to the platter, enabling it to spin. To do this, you simply loop the belt around the inner rim of the platter and stretch it over the small pulley on the motor. It’s a straightforward process, but an important one to note as this might be some users first experience of a turntable, let alone a belt-driven turntable as is the case for me (the Technics use a direct-drive motor instead of belts). It would be useful actually if FIIO had a sticker postioned at this point to note the step.



Features

The FIIO TT13 is a wonderful mix of old and new, designed to make vinyl playback effortless and with the addition of modern conveniences. Take the fully automatic tonearm for example - with a press of a button, the tonearm lifts, moves to the record’s start, and begins playing – simple! Press the stop button, and it returns to its resting position. The tonearm feels of good quality, in keeping with the rest of the unit – I’ve experienced very flimsy tonearms while working in consumer electronics, and thankfully not the case here. I think the best way to get across how the tonearm works, is by way of a short video as per below - unfortunately the sound might be blocked depending on your location, as the music copyright kicked in!



The TT13 has a built-in phono preamp, eliminating the need for a separate preamp – and indeed potentially facing the mishap that occurred for me on setup! You can plug directly into active speakers or an amp, providing flexibility and simplicity of use… or indeed leverage the Bluetooth and stream directly to active speakers.

As already noted, the build quality of the TT13 is excellent. Its all-aluminium alloy build is designed to a premium finish, not just for aesthetics but also for practical benefits like shielding against interference. The nearly 4kg chassis and shock-absorbing feet ensure excellent stability and vibration resistance, which translates to consistent, high-quality playback. It feels chunky and robust, even coming from my significantly heavier 1210s, which for context weighs in at a hefty 12.5 kg… over three times the weight of the FIIO TT13… the Technics however were designed like tanks, and a very different use-case.



There are seven lighting colours to choose from and adjustable brightness, allowing you to match the lighting to your mood or turn it off completely. On the Bluetooth version (I believe there is an option for both), you can adjust the lights with the included remote control. I must say I like the dim blue lighting effect when listening to music with only say a lamp on otherwise in the room, it makes for a very relaxing experience, especially with a well-chosen ambient album!

There is support for a variety of Bluetooth codecs to include aptX HD and I found it very easy to pair directly with a device such as FIIO’s own BTR17 that I mentioned in the introduction, a wonderful dongle and the subject of an upcoming review.

The TT13 naturally supports both 7” and 12” records, and dual-speed switch for 33 1/3 and 45 RPM playback. The supplied cartridge (Audio-Technica AT3600LA) is easy to maintain and also easy to replace, a quick Google yielded numerous stockists online, and at an average price of around $25.



It should probably go without saying as clear from the pictures, but I will note none-the-less that the TT13 comes supplied with a dustcover, ensuring it does exactly what the name suggests – and I can assure you dust does indeed collect on the lid, as I have experienced over the years with the Technics. In addition, it keeps somewhat delicate parts such as the tonearm, stylus etc out of harms way... especially if you have young children!



Finally, there is a remote control which I must admit I've not actually used yet! It however allows some basic functions such as power on/off, start and stop, lighting adjustment etc.



Listening Impressions

I’ve had the TT13 for just over a month now, and had the pleasure of many listening sessions during that time – some of which even while sat at my desk working from home, choosing a suitable relaxed album to help me trundle through some boring admin work… anything more mentally taxing means I can’t listen to any music unfortunately, as my brain struggles to do both!

An immediate observation and this is perhaps due to the built-in phono stage – I had to increase the volume on my amplifier significantly versus the 1210s – there was plenty of headroom on the amp to allow me do this, but worth pointing out – and indeed for anyone with the technical knowledge reading, it would be interesting to hear your perspective here as to why this might be.



Playing through the Audiolab 6000a, and on into my Wharfedale Linton Heritage, the sound is very refined, articlate, and engaging – I’m not going to delve into various elements of FR as that is really down to other elements in the chain, but as a vinyl source and the first step in this audio chain, the TT13 certainly did what it is supposed to do.

Going back to the aforementioned BTR17 dongle, I have loved the ability here to stream vinyl from across the room and listen to whatever IEM took my fancy while sat at my desk! I know feature like this has existed for quite a while, but I think the simplicity of setup, and the fact I’m coming from over 3 decades of simply playing vinyl on old (but legendary) turntables just provided an extra layer of excitement and indeed wonder into the mix! Yes I need to get up and turn the record to the other side, but still, a minor inconvenience and not really one FIIO can solve!



In an A/B of the 1210s, there is an audible difference – not limited to the volume I mentioned previously. This may come down to preferences, and I must admit it is hard to fully articulate, but the 1210s sound more ‘analogue’ compared to the TT13, there is a deeper, richer, more full-bodied sound where in comparison the TT13 sound possibly a bit more like a CD – you’ve of course still got the ‘crackles and pops’ where they exist on the record, but the overall playback just sounds I guess more pristine.



Conclusion

The FIIO TT13 is a wonderful turntable that perfectly bridges the gap between analogue nostalgia and digital modern convenience. For someone like me who grew up in the golden age of vinyl (maybe the later stages ) and has relied on legendary direct-drive models like the Technics SL1210 MKII, the TT13 offers a refreshing perspective on how technology has evolved in those 30 odd years… I would love to be able to show my 19-year old self back in the mid-90s a feature like the streaming capability – although I’m not sure he would have cared too much, and just got back to mixing records!

While it doesn’t have the sheer heft/built like a tank or analogue richness of a 1210, the TT13 delivers clean, articulate playback and a polished design that feels robust yet accessible. The customizable lighting adds a modern aesthetic touch, and the convenience of wireless streaming, something I couldn’t have dreamed of back in 1994 is a joy to experience.

Whether you're playing your cherished record collection or diving into vinyl for the first time, the TT13 brings something special to the table in my experience, and for what I consider a very reasonable asking price. A fine achievement from FIIO that has reminded me why I still love vinyl, even 30 years on… and indeed eager to see where FIIO take this next – as noted, I’m not expecting them to figure out the flipping of the records

TSMR ARMOR

• Configuration: 2x DD, 2x BA, 1x EST
• RRP: $289

Introduction

This is my second experience with TSMR, the first being the excellent and much loved SHOCK which was released to much applause in the community earlier this year. I am trying to reduce my time spent on reviews, but when TSMR asked if I would like to try ARMOR, I really couldn’t say no – the challenge of being a music and music gear addict.

Thanks to TSMR for the opportunity, and as always, all words and pictures are mine without any input from the brand.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

Driver Configuration

• 2 x 8mm high magnetic dynamic driver, hollow coaxial structure, carbon mixed diaphragm responsible for low frequency.
• 2 Knowles balanced armature responsible for mid frequency.
• 1 electret electrostatic driver responsible for high frequency.

Specifications

• 3-way crossover, 3 channels
• Impedance: 11 ohm
• Sensitivity: 103dB
• Frequency response range: 10~45kHz
• Connector: 2pin 0.78mm
• Cable: 8 Strands OFC Silver-plated

Unboxing & Accessories

The TSMR unboxing experience is nothing to get overly excited about and likewise the accessories – simple and to the point, you get all you need... just not the sort of unboxing that you might pop open a bottle of champagne with - perhaps I'm alone there anyway





Cable

This is a sore point for me – while it looks nice and matches ARMOR from a visual perspective, I just do not get along with the more rigid and unwieldly build – I find it can even end up pulling the IEMs from my ears, and not practical for out walking. I had the same experience with SHOCK, and in both cases grabbed another cable from my collection… my trusty Tripown Zonie – a low cost, wonderfully ergonomic cable that is pretty much the polar opposite to the stock!

Fit & Design

The shells are a 3D printed resin and feel smooth to touch, light, yet have a robust design. The nozzles are somewhat short and stumpy, which for my ears means my choice of tips are limited – I have a wider/larger ear canal so nozzles like this can be tricky, thankfully this is where Symbio W save the day, creating a perfect seal.





There are a variety of tuning options with 3 x switches that allow you to choose between bass focus, balanced, or mids and treble. For the purpose of the majority of this review, I have left in the default out of the box mode which is bass off, mids on, and treble off – but I will dip my toe in briefly as part of the next segment. Oh and as always with these switches, my older eyes struggle a bit to actually see what I’m doing – oh for the good old days of 20/20 vision…



Listening Impressions

My assumption with ARMOR was that I would experience a significant downgrade versus the over twice the price bigger sibling, the mighty SHOCK – a set much loved in the community over the last few months of 2024, and for very good reason. Anyway, much to my surprise, ARMOR does not feel like a massive step down by any means, and indeed even shines in its own unique and beautiful way… the headline here is very much a smooth, warm, highly emotive and captivating tuning that still manages to step forward in terms of clearly articulated instrument separation and overall imaging. There is this warm embrace, that simply lures me in every time I listen. While of course they aren’t at the technical level of SHOCK, they do again as I say offer let’s say another take from TSMR that very much focuses on a smooth, relaxing signature.

A lot of my time with ARMOR has been via the Aune M1p, Sony ZX707, and for the purpose of this entire review, paired with my recently delivered iBasso DX340.



Bass

Yet another set in 2024 choosing to implement a dual dynamic driver configuration for the low frequencies, and yet again my ears are delighted to experience this. The default bass position set to ‘off’ certainly provides a whole lot of bass, and to be honest when switching them to ‘on’, there is a touch too much for me – any tracks with a lot of bass focus, be it bass guitar or synths, just become a bit too overpowering… but I’m not a bass-head, those of you that wear such a badge might well feel very different. Flicking back to off, and as I say there is still plenty of bass, but much more controlled and for me ‘in its right place’ – plenty of sub rumble, plenty of mid-bass kick where required. The timbre is fantastic too, I’ve been really drawn to the realism and addictive nature again of bass guitars and generally speaking the lower registers of instruments.

Midrange

My only other TSMR experience to date is the aforementioned SHOCK, and ARMOR certainly steps forward with more captivating and lush mids, arguably a real highlight of the tuning here. Cliched words perhaps, but applicable none-the-less: lush, smooth, dreamy, and captivating pretty much sum up how the midrange performs… all while remaining clear with a very good sense of instrument separation. This of course means you’ve a more full-bodied delivery with good density of note weight. I’ve often read comments about the midrange and how critical it is to ensure a captivating emotional experience can be delivered, and ARMOR scores an easy 5/5 here… and no doubt why I’ve left the tuning configuration in this mode since arrival! Ok caved in and had to try switching off the mids… definitely not for me, they literally transform from lush and captivating, to cold and bland – perhaps some may enjoy, and maybe my ears/brain might adjust, but definitely leaves me feeling very cold with all switches set to off – the mids switch makes a massive difference, and it’s no wonder ARMOR arrives with the off/on/off configuration out of the box.

Treble

For this segment first switched on the treble leaving bass off and mids on – my aging ears really don’t notice much difference, a small lift in energy I guess but certainly not night and day, as such I would be comfortable to describe the overall upper regions as being quite subdued and relaxed, yet with enough sparkle to allow percussive elements to be clearly heard – the ESTs do a good job of giving a sense of air; cymbals and hi-hats for example drive a nice sense of width to a performance that ultimately creates a larger soundstage sensation.



Technical Performance

I would describe the soundstage first of all as having very good width, and with a commendable sense of spatial rendering – the instruments are well placed, and while not 3D as such, you do get an accurate feeling of location for the position of vocals, guitars, percussion etc. where applicable – plus as noted, there is very good clarity in terms of imaging and layering – all while remaining cohesive. Timbre to my ears is realistic, especially where the focus is low to mid, I would probably seek a bit more in the upper mids and treble for the higher extremities of strings for example… I don’t tend to speak too much anyway on timbre, as I feel it’s quite a broad topic and arguably subjective in many ways.



Test Tracks (all with tuning configuration of: bass off / mids on / treble off)

Cindy Lee – Kingdom Come



This features on the spectacular ‘Diamond Jubilee’, an album I’m seeing appear on a few ‘best of 2024’ lists and I wholeheartedly agree. First up – this is a great example of the wonderful bass on ARMOR, it strums along with great authority, located right inside my skull – guitars are again clearly distinguished and sit slightly to the right, with vocals panning to out to the left. Percussion again is distinct, and emanates across the stage providing an overall sense of a performance in a small, intimate venue where I’m sitting close enough to the stage.

36 – Blue Crown



I’m a big fan of 36, yet somehow missed this on first release – only purchasing a day before writing this review. The album is very much a nod to the chill out periods after the more hectic tracks associated with clubbing back in the 90s and early 00s – an opportunity to unwind after maybe a few hours dancing… many of which I certainly did back then. This is a great test of the emotive nature of ARMOR, and indeed top marks are applied here – the synths are incredibly captivating, likewise the female vocals which sit central and slightly forward in the mix.

Plastikman – Marbles (30th Anniversary Reissue)



This is a great example of a track that may have featured on my previously mentioned dancefloor, and certainly one that would have had me strutting my stuff and likely fixated in a bit of a trance. The rolling 303 just grabs hold right from the start, and captivates throughout. The kick drums have good presence with a nice sense of slam, and while the overall track is relatively simple, Mr Hawtin (Plastikman) really did create a timeless acid classic with this entire album way back in 1994… the accompanying synths that begin to unfold as the track evolves really manage to tug at my heart strings. Absolutely 10 out of 10 here again… so much so that I’ve to listen to the rest of the track before moving on to the next one!

Sasha – Mosaic



This is the opening track to the latest album from Sasha – kicking off with an ambient classical piece, that to be honest I would have loved if the entire album continued this theme – don’t get me wrong, the album is excellent but I was sort of anchored in this splendid beauty of the incredibly captivating strings in this album opener. In spite of my earlier commentary on the upper registers of strings, this does actually sound fantastic – soaring sufficiently high to again tug at heart strings, but without hitting any areas of upper mid sensitivity for me. Grandiose, captivating, and all encompassing… really beautiful.

Comparisons

SHOCK…

The most immediate and obvious difference is how the BCDs place instruments inside your head – there is this bone conduction wizardry that TSMR really pulled off with SHOCK that is hard not to be at least impressed by, if not wowed. The stage is larger and more holographic of course too, and there is more of a sense of frequency distribution. ARMOR has the smoother edge, with again those lush mids stepping forward – SHOCK does sound more technical due to both the BCDs and that step back from a mids perspective, even a touch dry in comparison upon first switching. They both have a lot to offer depending on what you are seeking, but if the boxes to be ticked go more for lush, smooth, and emotive, ARMOR delivers in spades versus the much more technically competent SHOCK.

AFUL P7…

The P7 jumps out as a brighter sounding set in comparison, and as such less density to the mids in particular – vocals in my test track sound quite a bit thinner. Bass is also less prominent. ARMOR overall sound more full-bodied, lush and emotive vs a more balanced signature that again leans bright in comparison. I would say also that the P7 presents a bit more centrally in my head, where ARMOR has more width to the presentation.

Conclusion

ARMOR have absolutely exceeded expectations for me, and actually have me thinking about seeking out more mids-focused sets – I’ve always appreciated good midrange, but ARMOR has really demonstrated that a set with a midrange focus can really grab you emotionally, as such becoming the heart or indeed soul of the tuning. By no means a technical powerhouse, nor a set to zoom in on the smallest of details, but if you are looking for an IEM that offers a smooth, highly engaging, warm embrace, the asking price for ARMOR certainly provides excellent value in my experience. Yet another fantastic release in 2024, and officially my last review as I write this just before 8pm on the 31st of December... thanks for reading, and happy new year - wishing you all the best for 2025!

DUNU Kima 2
Single Dynamic Driver - $119.99



Introduction

I have an incredibly soft spot for DUNU as I consider them to be the brand that really lured me in to this hobby in a more significant way in late 2020 when I saw an announcement for the ‘ZEN’ single dynamic driver – I was dabbling in various sets at the time, with my single most expensive purchase at that point being the Sony XBA-N3. I was really taken by the design of the ZEN, and ultimately decided to take the plunge, taking a big step up and splashing out a cool $699 on an IEM… I still remember the mixed feelings of excitement and shock as to the amount I had just spent (little did I know where the rollercoaster would ultimately take me…) but importantly how utterly amazed I was by the whole unboxing experience when my ZEN landed in early 2021 – DUNU really did anchor me and set a benchmark for both unboxing and accessories which to this day is rarely rivalled, albeit except for considerably more expensive IEMs.

I subsequently purchased the SA6, and having participated in a tour for the ZEN PRO, ultimately ordered a set. Admittedly and rather stupidly, again as part of the hobby rollercoaster, I have since sold them all and I would say the one set that really stands out as a regrettable sale is the ZEN PRO – I often think about buying again and probably will one day, a truly wonderful single dynamic driver.

More recently, I had the privilege to be among the first reviewers to receive the spectacular DK3001BD ‘Braindance’, without question in my tops IEMs for 2024 and I would say a legend in the making. There is a lot of love in the community for this set, and absolutely well deserved.

A final bit of DUNU fanboy words before I move on. I have massive respect for how DUNU approach the market – they do not churn out numerous sets, only releasing new products as they move through longer sales cycles while clearly allowing sufficient focus time for R&D into new and worthy sets to unleash on the market – this really is admirable, and certainly for me drives a sense of passion and care for what they do.

I would like to thank DUNU for sending me the Kima 2 for review, as always there is no input from the brand into the words and photos that follow…

About me... (in a spoiler)




Specifications

• NET WEIGHT: 10.5 g (Per Side)
• FREQUENCY RESPONSE: 5 Hz - 40 kHz
• IMPEDANCE : 20 Ω
• SENSITIVITY : 108 dB/mW @ 1 kHz, 125 dB/Vrms @ 1 kHz
• TOTAL HARMONIC DISTORTION: < 0.3% at 1 kHz
• DYNAMIC DRIVER CONFIGURATION:
  • External Magnet DLC Composite Diaphragm
• HOUSING MATERIAL:
  • S316 Stainless Steel
• WIRE MATERIAL:
  • Four-Core Monocrystalline Copper and Silver-Plated Monocrystalline Copper
• CABLE LENGTH: 1.2 ‡ 0.1 m
• CABLE CONNECTOR: 2-Pin (0.78 mm)
• PLUG CONNECTOR:
  • Patented Q-Lock Mini Interchangeable Plug System
• INCLUDED PLUG TERMINATION(S) :
  • 4.4 mm TRRRS Balanced, 3.5 mm TRS Single-Ended

Unboxing & Accessories











First off, you get the typical bar raising level of accessories that DUNU seem to provide no matter what the price point… I mean you’ve got a high-quality case, wonderful selection of tips, a cleaning cloth, and a mesh pouch to keep the Kima 2 stored safely when not in use?! – I’ve seen sets at least two or three times the price with nothing like this selection of accessories, and indeed at this level of quality.







Design

The shells are a fully stainless steel design and feel robust and sturdy, but not too heavy. The nozzle is on the longer and slimmer side, something that can be a bit troublesome for me at times but I’ve mostly solved now with the discovery a few months ago of the excellent Acoustune AEX07 in XL, my saviour for smaller nozzles and my large ear canal openings!





I find them very comfortable and no issues with discomfort for longer sessions.



The cable is a thing of beauty, both from an appearance and touch perspective – I could almost see the cable being sold separately to be honest for the price of this full package! I do find it a touch too thick and heavy though for out walking – only very marginal though and I’m quite fussy about cables when I’m walking, preferring them to be ultra-light and thin. Although to note, for those of you who have DK3001BD, the Kima 2 cable is like a ‘low-fat’ version, pretty much the exact same except lighter. Oh and of course I must point out the excellent modular system for 3.5mm and 4.4mm, DUNU does this best in my opinion where it feels secure, easy to change, and a neat/tidy execution.



Listening Impressions

The vast majority of my listening has been with the Sony ZX707 (Japanese model) – Kima 2 are pretty easy to drive, so the relatively underpowered Sony has no problem here on high gain.



I’ve had these maybe five or six weeks now, and anytime I reach for them, I’m left with the same thought – how the heck are these only $119?! While yes one could nitpick and seek more details, more precise imaging, a larger stage, and perhaps a bit more treble… but holy-moly when it comes to just simply enjoying music, which ultimately is mostly the main goal, the Kima 2 delivers in bucket loads… and again I must emphasise, for a relatively low asking price. I’ve had countless single DDs over the years, many of which I still keep in my collection, so I kind of consider this format of transducer to be an area of speciality for me, or indeed an area that I simply love – it’s hard to beat the coherency and timbre of the humble single dynamic driver.

Superb balance, a hint of warmth, and just a set that is easy to listen to, and easy to love no matter what genre you load up… a veritable ‘jack of all trades’ that if we continue the analogy, would have a fantastic review ranking for their ability to get the job done, no matter what.

Bass

Kima 2 leans slightly more towards mid-bass than sub-bass, and you get reasonable quantity of each, just certainly not at bass-head levels. The quality however is very nice, a good sense of texture and realism in this region. When sub is called for, there is certainly a satisfying level of rumble, but just don’t expect it to reach down into your chest…

Midrange

The midrange performance is excellent, and really stands out for me in terms of the overall tuning. Most of the activity in music occurs here, and while of course the lower and upper ends of the register play a large part, the emotion tends to live in the midrange… critical criteria here being a good balance of clarity, warmth, and a driver that is capable of dealing with complexity and speed, all of which Kima 2 delivers on. Everything from male to female vocals, piano to electric guitar, violin to trumpets, and of course any other instrument one might care to mention, are rendered beautifully – you’ve got the timbre, the emotion, the clarity, and the cohesion. The lower mids have good weight to them, and provide that lush and warm sensation. Upper mids step back slightly, ensuring a ‘safe’ region here where some (including me) can be sensitive. The mids in general allow for a very relaxing and engaging listen, and again work with any genre.

Treble

This region is safe and might leave those seeking more sparkle a bit wanting. This is of course the challenge of a single dynamic driver, difficult to tune to a point where you get each region of the FR to a point that will appeal to everyone. However, not to say that it’s dark or overly subdued up top, there is certainly a touch of sparkle up top and enough to ensure details are sufficiently heard in this region – and indeed this plays into the overall tuning in as far as securing a title of a ‘jack of all trades’ – the treble will never offend.

Technical

First off, a reminder that this is a $119 set – a set that performs incredibly well from a musical experience perspective. Yes it does fall a touch short when it comes to imaging, layering, stage size and the most tiny of details… but as I’ve noted in other reviews, I consider this a tuning choice at times too – a safe all-rounder that plays any genre very well, especially a single DD, has to have some trade-offs in my experience. So yes, the stage isn’t massive, but I think it’s acceptable – it has a nice sense of stereo width, with that ‘middle of your head’ central positioning where it then emanates out left and right in a classic ‘sweet spot’ style of delivery.



Comparisons

FIIO FD15

Both sets have really impressed me in 2024, demonstrating that for not a huge amount of money, you can get a huge amount of musical enjoyment, and with superb build quality. DUNU takes the prize though in terms of bundled accessories, I’m not quite sure what FIIO were thinking when it comes to their new clear plastic cases – fine for storing your IEM, but they look cheap and certainly not practical for on-the-go.



The FD15 sounds a touch brighter, and at the same time a touch more technically competent – the details are more nuanced at the micro level… the Kima 2 on the other hand has a tonal advantage in terms of the super-engaging presentation that captivates regardless of genre – not to say the FD15 doesn’t, as it absolutely does – I just think Kima 2 has an edge here. Overall though they are quite similar, and if you already own one, buying the other would simply be an example of exploration, curiosity, and the usual collector nature of this hobby. I’d find it hard to call a preference here to be honest as they are both wonderful examples of beautifully tuned single dynamic drivers, at prices that are relatively modest and accessible.

Conclusion

The Kima 2 is an incredibly capable and highly enjoyable single dynamic driver, and like I said about the DK3001BD, probably a bit of a classic in the making – there is a vast amount of ‘noise’ in our hobby, with new sets appearing almost on a daily basis… many of which disappear relatively quickly – for a brand to succeed, they have to stand out, and I absolutely believe that DUNU has ticked this box with the Kima 2 – whether you are early in your IEM journey, or a hardened IEM addict, the Kima 2 is without question worthy of consideration for your collection, and comes with my highest recommendation… a complete package in terms of the fantastic DUNU unboxing experience, the wonderful selection of accessories, the premium build quality, and the ability to allow you enjoy absolutely any segment of your library.

FIIO DM13
Portable CD player - $140



Introduction

While there appears to be a bit of a CD revival, I’m not sure we’ll ever return to the good old days of record stores with endless rows of CDs to browse – a rarity in these digital days, but thankfully a luxury I can still personally enjoy as there is a fantastic Tower Records still here in Dublin. Perhaps the revival will lead to a few smaller independent stores popping up again, but I’d remain sceptical. Anyway, CDs never really went away, just fell off a cliff in more recent years with the unstoppable rise of streaming services… but there are a small few of us who still enjoy the format, and I’ve held on to my 1000s of CDs and take great pleasure in browsing, landing upon maybe an old gem that I’ve not played for a long time – for me this is a different type of experience versus browsing digital formats, it feels more considered – I guess as it has been a method for me for over four decades now, and get that this may not feel the same for younger generations!

I’m certainly delighted to see this resurgence, and was excited when I saw announcements in the last few months from FIIO as to their first foray into the world of CD players with the introduction of the DM13. I would like to thank FIIO for sending me a unit to review, and as always the brand has no input into the content featured in this review.

Specifications

• Rated input: 5V⎓2A (Type-C)
• DAC chip: CS43198*2
• Headphone amp chip: SGM8262*2
• Display: 1.5-inch LCD
• Headphone output: 3.5mm single-ended + 4.4mm balanced
• Line output: 3.5mm LO/COAX/OPT combo output + 4.4mm balanced line output
• Output power 1: L+R≥180mW+180mW (32Ω, THD+N < 1%/single-ended)
• Output power 2: L+R≥660mW+660mW (32Ω, THD+N < 1%/balanced)
• Single-ended line output level: L+R=2.5Vrms+2.5Vrms
• Balanced line output level: L+R=5Vrms+5Vrms
• Supported Bluetooth output codecs: aptX HD/aptX Low Latency/aptX/SBC (Bluetooth version only)
• Supported CD-R formats: FLAC/WAV/WMA/AAC/MP3 (only supports SACD playback with CD layer)
• Signal-to-Noise Ratio: ≥124dB (A-weighted)
• Noise floor: PO ≤2.4μV (A-weighted), BAL ≤2.8μV (A-weighted)
• THD+N: ≤0.0024% (1kHz/0dB@32Ω)
• Battery capacity: 3750mAh
• Battery life: ≥10 hours
• Dimensions: About 144*137*27mm (excluding feet)
• Weight: About 450g

Unboxing







Design

The aluminium alloy chassis feels well-constructed and durable, with a tactile hinge mechanism that opens with a satisfying “click”. It’s surprisingly compact and at just 450g, it’s light enough to toss in a bag but hefty enough to remind you it’s a serious piece of kit.



The button array on the top of the device are well laid out and easy to access. The various functions outside of the basic commands do take a bit of learning as many of them require pressing and holding various buttons to access other functions such as Bluetooth pairing etc. I recommend reading the ‘quick start guide’ supplied as a few minutes with this ensures you have a good grasp of the controls... when I worked in electrical retail many moons ago, if a customer called the store to ask a question about whatever they had purchased, they were often told that it sounds like a case of "RTFM" - read the effing manual!



On the rear of the DM13 there are various outputs and a couple of additional buttons:

• Balanced line-out
• 3.5mm line-out / COAX / Optical
• USB recording output (USB-C)
• ESP on/off – this is a feature to stabilize playback if using the player on the go
• Power in – allowing desktop mode with direct power
• D Mode: switch to enable the above desktop mode when hooked up to power sourc

Features

The DM13 features gapless playback – this was a massive frustration for me with the far more expensive Shanling EC Mini, a major disappointment to be honest considering the $359 price tag, over 2x the price of the FIIO. All of the standard features you would expect of a CD player are available too, such as the option to repeat a single track, full album, etc. In addition, the DM13 will remember where you left off on a CD, even if you power it off and return later – it will revert back to the last track playing which is a handy feature.

Battery

FIIO claim 10 hours on a full charge, but I haven’t been able to validate this yet – I’ve tended to have it hooked up for top-up charges over time, and to be honest simply forgot to keep check on how many hours of play once charged! I’ve no doubt it’s correct anyway.

LCD Screen



The display is clear and easy to read – you have the volume displayed on the left, and then the track number and duration. The display then toggles between other information such as the ESP mode, battery level, output modes etc. Just to note here also in reference to the power output - while listening to the HD660S2, I only needed to set the volume to 34 out of 99, so plenty of headroom for more hungry sets.

Wireless or wired…



The DM13 has aptX hi-res Bluetooth, and since I recently took delivery of the BTR17 for review, I’ve had it hooked up and must say this is a real highlight for me – I love being able to choose a CD for listening in bed or at my desk, and then use the BTR17 along with whatever choice of IEMs to have the freedom to wander about, or the convenience in bed where I can just keep the BTR17 on the covers and happily fall asleep with the disc playing – which btw the mechanism is incredibly quiet, another massive flaw with the aforementioned Shanling EC Mini, a noisy beast of a machine in comparison… oh and did I mention at over 2x the price?! – yes I know I did! Anyone interested in buying a barely used Shanling EC Mini?!!

For wired earphones there are 3.5mm and 4.4mm options, with the former pushing out 180mW, and the latter a whopping 660mW – I’ve had no bother driving any IEM or headphone that has taken my fancy, to include the Sennheiser HD650 and HD660S2.



Recording

While I’ve not yet tested, FIIO provide the ability to record CDs either directly to a USB storage device or by ripping directly to your computer with of course some form of software to encode to your chosen preferred format. When ripping to a USB storage device directly, the files are encoded to WAV. This is a very handy feature, especially at the price point.

ESP - Electronic Skip Protection

I must say this really brings me back to the 90s – I can still picture the stickers on portable CD players stating features like this… very important of course back then as we took our portable CD players on the go. I can’t see me taking the DM13 out and about, but I have certainly walked around the house without any disc skipping issues – and indeed while taking a photo of the underside of the player, the CD continued playing without any problem – and that is with ESP switched off. FIIO note in the instruction manual that ESP should only be selected when required, as apparently it will have an impact on sound quality.

Sound

I have listened to numerous genres over the last few weeks with the DM13, and the sound profile is very much neutral with a nice balanced, clean, detailed signature. As noted, there is ample power on tap via balanced and I have enjoyed a variety of IEMs from my collection, along with a few full size headphones such as the HD660S2 and Denon D9200.

Conclusion

The old audio nerd in me is absolutely delighted to witness this CD format resurgence, and I know brands like FIIO are dipping their toe in the water with this somewhat entry-level player to get a sense as to the market opportunity – I truly hope they get the result they need to warrant creating an upgraded version… not that there is anything ‘wrong’ with the DM13, but I’ve no doubt FIIO can cook up many good reasons for an upgrade… one only needs to look at the teasers from DUNU to get a sense as to where the market might travel. Hats off to FIIO for the DM13, a wonderful player that really does offer a lot for a relatively low cost... easy 5/5.

DUNU DK3001BD – ‘Braindance’
Configuration: 1x DD, 4x BA, 4x Planar

RRP: $499



Introduction

I have an incredibly soft spot for DUNU as I consider them to be the brand that really lured me in to this hobby in a more significant way in late 2020 when I saw an announcement for the ‘ZEN’ single dynamic driver – I was dabbling in various sets at the time, with my single most expensive purchase at that point being the Sony XBA-N3. I was really taken by the design of the ZEN, and ultimately decided to take the plunge, taking a big step up and splashing out a cool $699 on an IEM… I still remember the mixed feelings of excitement and shock as to the amount I had just spent (little did I know where the rollercoaster would ultimately take me…) but importantly how utterly amazed I was by the whole unboxing experience when my ZEN landed in early 2021 – DUNU really did anchor me and set a benchmark for both unboxing and accessories which to this day is rarely rivalled, albeit except for considerably more expensive IEMs.

I subsequently purchased the SA6, and having participated in a tour for the ZEN PRO, ultimately ordered a set. Admittedly and rather stupidly, again as part of the hobby rollercoaster, I have since sold them all and I would say the one set that really stands out as a regrettable sale is the ZEN PRO – I often think about buying again and probably will one day, a truly wonderful single dynamic driver.

A final bit of DUNU fanboy words before I move on. I have massive respect for how DUNU approach the market – they do not churn out numerous sets, only releasing new products as they move through longer sales cycles while clearly allowing sufficient focus time for R&D into new and worthy sets to unleash on the market – this really is admirable, and certainly for me drives a sense of passion and care for what they do.

DUNU sent me the DK3001BD in exchange for a review, as always, there is no input from DUNU on the content laid out here. Thanks to DUNU for the opportunity, it is much appreciated.



About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

Driver Configuration

• Dual-System, Four-Way Precision Crossover
• Flagship “Glacier” Low-Frequency Dynamic Driver
• Custom Mid-High Balanced Armature Drivers
• High-Performance Planar Ultra-High Drivers

Specifications

• NET WEIGHT: Approx. 8.1 g (per side)
• FREQUENCY RESPONSE: 5 Hz - 40 kHz
• IMPEDANCE : 26 Ω
• SENSITIVITY : 108 dB/mW @ 1 kHz, 122 dB/Vrms @ 1 kHz
• TOTAL HARMONIC DISTORTION: < 0.5% at 1 kHz
• DYNAMIC DRIVER CONFIGURATION:
  • 1 Dynamic 4 Balanced Armature 4 Planar
• HOUSING MATERIAL:
  • Aerospace-Grade Aluminum Alloy
• WIRE MATERIAL:
  • 4-Core Secondary Refined High-Purity Furukawa OCC Copper
• CABLE LENGTH: 1.2 ‡ 0.1 m
• CABLE CONNECTOR: MMCX
• PLUG CONNECTOR:
  • Patented Q-Lock Mini Interchangeable Plug System
• INCLUDED PLUG TERMINATION(S) :
  • 4.4 mm TRRRS Balanced, 3.5 mm TRS Single-Ended

Unboxing & Accessories



I noted in the intro about my love for DUNU unboxing and accessories, and indeed that love is absolutely evident with DK3001BD (let’s just call it ‘BD’ for the rest of the review!) – DUNU never disappoint here, and seem to deliver the goods regardless of price point as I have discovered with the $119 Kima2.



The box looks and feels premium, even how the outer sleeve slides off just seems to exude a feeling of quality. The cardboard has a thicker density to it, and you just know that DUNU doesn’t cut corners even when it comes to packaging.









The BD is supplied with a wonderful selection of accessories and basically everything you could possibly need, to include the classic DUNU cleaning cloth that I’ve come to know and even love with a variety of DUNU sets over the last few years!



The BD comes supplied with an excellent selection of tips, to include the very distinct DUNU S&S tips in small, medium, and large – Candy eartips again in S/M/L, balanced gray tips in S/M/L, and one set of foam which seem to be a medium size. You also get:

• Cleaning brush
• Cleaning cloth
• 3.5mm to 6.3mm adaptor
• Carry case
• IEM protective mesh

Fit & Design

The shells are absolutely unique, and kudos to DUNU here for doing something very different to everything else on the market – it must be hard to stand out in a jam-packed market, but DUNU have certainly managed to achieve that with the cyberpunk-inspired design of the BD.

There is a nice bit of weight to the shells at 8.1g per side, enough to feel robust but they don’t feel especially heavy in my ears though either.

The smooth finish is comfortable in my ears and there are no protruding edges, perfect for long sessions.



The MMCX connection feels very secure, and while I appreciate most prefer 2-pin, I think the choice of MMCX here makes sense as it leaves a very tidy finish that complements the overall design. I did read that 2-pin will indeed be an option at some point.

Cable

The cable is a thing of beauty, finished to an incredibly high standard from plug all the way to MMCX connectors – again, feeling like no expense spared, with wonderful attention to detail.



The upper segment from the y-splitter is a rubber finish, with a lace-jacket running the other end to the excellent ‘Q-Lock’ interchangeable plug which comes with both 3.5mm and 4.4mm terminations.



If I were to nitpick here, I would say the cable is perhaps a touch heavy for out walking – I personally prefer something a touch thinner and lighter in these scenarios. That said, I haven’t been walking with BD at all, mostly as I’m wondering what funny looks I might get for the cyberpunk shells protruding out of my middle-aged ears…



Listening Impressions

The majority of my BD listening has been via my Sony ZX707, iFi Go Bar Kensei, and more recently, the excellent FIIO BTR17.

Every so often an IEM comes along that has a unique ability to just put a smile on my face in every session – a set that I want to keep reaching for, in spite of other far more expensive sets close by… the BD does exactly this, and defies it’s relatively modest $499 price tag considering the level of performance on offer… the technical ability just jumps out at you the minute you plug them in, especially if you choose some more complex music to really showcase the BD’s ability, yet they do so in a smooth way – you’ve got the details and really precise imaging, but with a somewhat relaxed presentation that allows you to really immerse yourself in the experience without becoming fatigued – I’m not sure what other IEM I’ve ever experienced this with, especially at this price point. While I wouldn’t describe them as ‘warm’ as such, the smoothness is very apparent, coupled with a fantastic level of transparency… it’s definitely a unique and ultra-engaging tuning.



Bass

There is a sub-bass bias here, with an incredibly satisfying sub depth and presence that is truly mesmerising. While mid-bass takes a step back, I don’t feel at a loss in terms of the overall impact and density when called for. The sub-bass boost certainly takes a dominant position in the presentation of sub-bass heavy tracks, but it never distracts or becomes overpowering – it rumbles and grabs you, but yet still behaves well in the overall presentation. The dominance of sub-bass can also create an excellent foundation that tends to position very centrally inside your head, allowing the other elements of the FR to extend outwards in a wide stereo field presentation.

Midrange

I’ve wrestled a bit with my listening impressions with regards to the midrange in particular as there have been a few times where I think I’ve grasped where they excel, only to listen to something else that leads to a different conclusion. Overall the mids do sit in a leaner category with a focus on transparency – if seeking a lush and full-bodied mid-range, the BD will not meet your needs… however you do get what sounds like an accurate representation of what’s being played, be it male or female vocals, or any instrument that happens to present itself – with clarity being a real key word here to describe the presentation. I usually associate a bit of warmth or lushness in the mids as a significant factor in how engaging or immersive a set might be, yet the BD still absolutely captivates and immerses – albeit in a deeply transparent manner. Upper mids are also relaxed, beautifully rendered and very well behaved, I have had zero moments where I’ve felt the need to wince in response to any zing in this region, and this is certainly a risky zone for me with many sets.

Treble

In contrast to sub-bass depth, we have a very complementary treble extension that has excellent air and bite – nothing offensive to my ears, but it might be a touch overpowering to those of you who are sensitive in this region. Coupled with the clarity and transparency of the midrange, it would perhaps be reasonable to describe the BD as a brighter leaning set overall, but again with that captivating magic the overall tuning manages to offer. I increasingly find I have quite a love for well-executed forward treble, finding it to be highly addictive when tuned right, and the BD is definitely ticking that box handsomely – airy, crisp, distinct, snappy, and detailed… again, smile-inducing.

Technical Performance

The BD has a wide, spacious, and highly transparent presentation that allows micro details to shine through in an immersive and captivating way. While the imaging isn’t at the almost voodoo levels of positioning that sets containing a bone conduction driver might achieve, the performance here is really fantastic and arguably sounds more authentic to my ears – I’m still unsure on the BCD trend of the last few months, regardless of how impressive it can sound – I still prefer a well-executed non-BCD set which presents a more ‘traditional’ sound field. The timbre again sounds authentic with a natural and uncoloured delivery that still manages to captivate with emotion, rather than sounding cold or sterile.



Test Tracks

Fennesz – Heliconia



The opening track to the latest album from the legendary Fennesz. This is an ambient acoustic workout, which really allows BD to showcase the technical prowess on offer – there is an ethereal sensation to the presentation, where the swirling synths occupy a large portion of the soundstage, emanating out to a very wide field. There are multiple layers to this piece as it evolves over the course of the >9 minute duration, that could almost be missed if not for the spectacular transparency of the BD.

Angel Olsen – Wonder Now



I’m immediately captivated by the wide stereo field, and super-clear level of imaging upon the opening few seconds with the various instruments, followed by centrally positioned and again highly authentic sounding vocals – while not lush or full-bodied, there is again this superb sense of realism to the delivery, and the overall presentation as the track reaches a climax is just incredibly satisfying.

VC118A – Spiritual Machines



When a new IEM arrives, I almost always load up some IDM or electro to get a sense for the overall FR representation, and ability to handle often detailed and complex tracks. Also, I listen to a vast amount of this style of electronic music, so it’s pretty vital the IEM can perform not only well, but do an excellent job. BD is tuned perfectly for these types of genres, and absolutely no surprise to me when choosing this track for my review – even the mid-bass performs very well here, with a good level of kick and density to the delivery. The technical performance again shines through here, with super-addictive levels of imaging and detail, but again not sterile – highly engaging balance of tuning.

Galaxie 500 – Ceremony



This is one of those rare examples for me where the cover beats the original – and possibly an unpopular opinion for those die-hard Joy Division / New Order fans out there. I have listened to this track countless times over the last number of years, and would without question rank in a list of favourite tracks of all time. It’s a step away from the tracks before in that it is over 40 years old, and an opportunity to test a bit of male vocal indie rock. The BD does a really good job here, especially given the level of transparency and more neutral profile – I think this song could benefit from a bit more weight to the mids to add body to the vocals and guitars, as it comes off slightly flat as a result, but it doesn’t step into that ‘harsh’ zone.

Ladytron – Destroy Everything You Touch



Been way too long since I’ve listened to this fantastic album – I always love this about writing a review, finding the inspiration to dig deeper into my library to find some neglected gems. BD really showcases again here the technical capability, buckets of detail, and what feels like endless layers of instruments – vocals are perfectly central and again lacking a slight amount of body, but I must note I know this recording isn’t fantastic, and a transparent set such as BD will highlight that. I would like a bit more body in the mids for sure, and also the mid-bass is definitely a touch light on the kickdrums.

Sun Electric – Spreewald



A classic electronic album from 1996, featuring on the wonderful ‘Apollo’ label, probably most famously known for being the home to the first Selected Ambient Works from Aphex Twin. This is a great example of a track with beautifully deep rumbling sub, and it needs a set that can dig deep to fully appreciate – BD really steps forward here and delivers, one of these moments where I want to kick back and just enjoy the album in its entirety. While it’s a more relaxed track overall, there is a lot going on and again needs a set like BD to really showcase the detail. A highly captivating listen, and another where BD really excels.

Comparisons

FIIO FH19 ($599 - 2x DD, 6x BA)

The mid-bass kick step up is immediately evident when switching to the FH19, another favourite of mine from 2024. They sound a touch warmer, less transparent, and with an overall more forward and energetic signature. Treble still has sparkle, but less extended and lacks perhaps a refinement that exists in the BD – likewise on the other end of the FR, where the sub doesn’t quite extend to the same depths. The FH19 isn’t as technically proficient, stepping back in terms of transparency and overall detail and imaging precision, but offering a warmer and perhaps more balanced presentation.

Conclusion

It will no doubt be blatantly obvious how much I love this set – I was itching to get through other reviews so as to get to the BD, and now I will honestly miss my time with them when I move on to what’s next in the queue! I’m inclined to call the DK3001BD as my top IEM of the year, but at time of writing in early December, I still have one more set in particular that I’m eager to hear before calling the 2024 champion – let’s see when that lands in about two weeks where I stand!

DUNU has absolutely knocked the ball way out of the park with the BD, definitely a classic in the making due to its unique styling and incredibly engaging tuning. DUNU fanboy, over and out...

AFUL Performer 5+2 (equals seven…)

Configuration: 2x DD, 4x BA, 1x Planar
RRP: $239



Introduction

There has been quite a buzz or indeed ‘hype’ in the audio community around the build-up and launch of the Performer 5+2 from AFUL – probably some of the most excitement and anticipation I’ve witnessed over the last couple of years for a new set. AFUL have already made a name for themselves with sets such as the Performer 5 and 8, plus I’m reading great things about Cantor too, AFUL are definitely associated with providing excellent price-to-performance value across their line-up. Now that 5+2 is very much out there in the market, does it live up to that initial buzz? – it seems an absolutely resounding ‘yes’, they definitely have a winner on their hands.

Thanks to AFUL and HiFiGo for sending a review sample, as always there is zero input from the brand in my thoughts and photos that follow.

For simplicity in typing this review, I’m going to refer to the 5+2 simply as ‘P7’.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

Driver Configuration

• 2x Dynamic Driver
• 4x Balanced Armature
• 1x Planar

Specifications

• Impedance: 15Ω士20%
• Sensitivity: 109dB@1kHz
• Frequency Response: 10Hz-35kHz
• Drive Configuration: 2DD+4BA+1Micro Planar
• Cable Connector: 2Pin (0.78mm)
• Cable Length: 1.2m
• Plug Termination: 3.5mm or 4.4mm
• Working Sound Pressure Level: 20~105dB

Unboxing & Accessories

The unboxing is pretty standard at this price point—nothing overly lavish, but not underwhelming either.







From an accessory perspective, you get everything you need: a decent variety of tips in different styles and sizes, plus a puck-style case.





Fit & Design

The P7 is a wonderfully comfortable set. The compact shells sit perfectly in my ears, with no discomfort even during long listening sessions. Isolation is excellent too... I’ve worn them while walking outdoors, and they do a great job of blocking out traffic noise like cars and trucks... of which there are too many in my neighbourhood at the moment due to a lot of construction work!



One slight frustration is the lack of a lip on the nozzle, which means tips can sometimes pop off. Thankfully, I’ve never had one stuck in my ear, but they have fallen off a few times when placing the IEMs back in the case.



Cable

The P7 comes bundled with an 8-strand, 144-core high-purity copper cable with silver plating. It feels reasonably premium, with just enough heft and thickness without being cumbersome for daily use. You can choose between 3.5mm or 4.4mm terminations. I would prefer to have a modular system as has become quite standard at this price point.

The 2-pin connectors sit flush with the shells, which I really appreciate - it keeps things tidy and secure.

Listening Impressions

Straight out of the box, the P7 really impressed me - I can immediately see why it’s garnered so much praise in the community. The competition among brands in 2024 has truly driven innovation, delivering incredible performance at ever-lower price points... and the P7 is another shining example.

The signature offers excellent balance, clarity, and technical ability. It leans towards a lively, energetic sound without crossing into aggressive or fatiguing territory. However, if you’re after a smoother, more relaxed tuning, you might find the P7’s forward energy a bit much...

Over several weeks, I’ve tested the P7 with a variety of genres... everything from ambient, techno, classical, rock, to name a few. It’s proven to be an exceptional all-rounder, though I very occasionally found the upper mids a bit too forward, especially with lower-quality recordings.

The Aune M1p has been a regular with the P7, as I tend to choose for out walking or going to the office. In additon, I've had plenty of time with other sources in my collection such as the Sony ZX707 and 1ZM2.

Bass

The sub and mid-bass are well-balanced, with a slight bias toward sub-bass. I’ve mentioned before how much I enjoy the dual-DD configuration, as it allows for a distinct separation between sub-bass rumble and mid-bass thump... this is exactly what the P7 delivers.

Sub-bass extends deeply and provides satisfying rumble when required, but bass-heads may find it lacking in overall quantity. Similarly, mid-bass offers decent impact and slam but doesn’t cater to those craving more abundant bass.

What the P7 excels at, though, is clarity and separation, delivering a cohesive yet well-defined bass performance that supports its balanced tuning. Both sub and mid-bass come through authentically, handling both electronic and acoustic instruments with finesse.

Midrange

The mids are wonderfully clear, transparent, and spacious, with a slight touch of energy that brings them forward in the mix. They avoid sounding aggressive while maintaining a hint of warmth that adds body to vocals and instruments.

Male and female vocals are delivered with satisfying density, while busy passages remain clear and uncongested, no matter how complex the arrangement. As previously noted, I’ve occasionally observed slight harshness in the upper mids on lower-quality recordings, but this has been rare.

Treble

The treble extends well, with excellent air and sparkle without veering into harshness. This helps create a sense of spaciousness, with elements like hi-hats rendered with captivating realism, seeming to sit outside the headspace.

The planar treble adds a shimmering quality, lending the tuning an ethereal edge. While the treble is forward, it doesn’t cross into aggression, instead maintaining the energetic profile that defines the P7’s overall sound.

Technical Performance

The P7 offers an expansive soundstage with excellent width and reasonable depth. While not holographic, its 3D presentation benefits from strong imaging and layering.

Resolution is impressive for the price point, with micro-details rendered clearly, especially on high-quality recordings. Ultimately, the P7 leans more toward musicality than pure technicality, with its balanced tuning, warm mids, and ethereal treble delivering a highly engaging listening experience.



Comparisons

Kiwi Ears KE4 (2x DD, 2x BA - $199)

The KE4 offers a similarly neutral tuning but leans far more relaxed compared to the energetic and forward P7. The P7’s bass feels much more present, leaving the KE4 sounding thin in comparison. Likewise, the mids on the KE4 feel less engaging. Overall, the P7 comes across as the more premium and exciting IEM, though the KE4 remains a solid choice for those seeking a smoother, laid-back sound.

NiceHCK NX8 (1x DD, 6x BA, 1x PZT - $199)

While I’ve only just received the NX8, my initial impressions suggest it’s much closer in tuning to the P7 than the KE4. Both share a more energetic profile with impactful bass and forward mids. I’ll need more time to compare, but so far, they seem like evenly matched contenders in this price bracket.

TSMR Armor (2x DD, 2x BA, 1x EST - $299)

Another recent arrival, the Armor immediately captivates with a warm, smooth tuning that contrasts with the P7’s more energetic presentation. The Armor offers similarly lush mids but I would say carry more note weight, and perhaps slightly more sub-bass but lacks the forward energy of the P7. Both sets cater to different preferences and excel in their own right.

Conclusion

The P7 is a set with broad market appeal, offering balanced tuning that works across any genre at a price point that underscores the incredible value available in 2024. Its musical profile, combined with strong technical performance, makes it a standout option at $239.

For me, the P7 is undoubtedly a strong contender for one of the best-value IEMs of the year. It sets a high bar for competitors to beat, and I’m excited to see how the hobby continues to evolve in 2025!

BGVP Phantom SE
Configuration: 2x DD / 2x BCD / 2x BA / 2x EST

RRP: $1,099 - available from BGVP directly HERE or MusicTeck HERE

Introduction



I have been aware of BGVP for a while but never tried any of their products until now. I saw launch details of the special edition version of ‘Phantom’ which was released earlier this year, and was immediately drawn to the overall design, but even more intrigued when I saw the driver configuration (noted above).

I would like to thank BGVP for sending me the Phantom SE for review and as always, no input from the brand on the words and photos that follow…

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.



About BGVP (from their website…)

BGVP - A pro headset brand founded in 2015 ,is the subordinate brand of Dongguan Nengjiang technology limited company, the company is located in ChangPing Town, Dongguan City. BGVP mainly produces and customizes various high-end HIFI earbuds, earphones and other electronic products. In the process of development, BGVP has never forgotten to master the core technology capabilities, independent research, development and sales. BGVP is committed to providing high-quality HIFI headsets for consumers around the world. Music is the monologue of the soul. BGVP is committed to presenting you with higher quality, purer and more infectious sounds using advanced and professional acoustic technology. We hope that when you wear headphones made by BGVP, you can experience the joy of integrating music. BGVP is committed to creating outstanding and extremely versatile product dialogue users with exquisite engineering and rigorous testing systems. With the ingenuity of the company, the company insists to the ultimate in cost-effectiveness, and adheres to the principle of putting customers in the first place, and has the most cost-effective model at all prices.

BGVP is more focused on earbuds and flat heads. After years of research and development, BGVP insists on exploring the future and continues to introduce new TWS and electrostatic earbuds this year. We believe that sky is the only limit of us. BGVP is here to satisfy your critical auditory nerve.

Driver Configuration

• 2x Sonion Bone Conduction Drivers
• 2x Double DC + Graphene Dynamic Drivers
• 1x Knowles Balanced Armature (RAD Series)
• 1x Sonion Balanced Armature (2300 Series)
• 2 x Sonion EST

Specifications

• Cable: 4.4mm / 2-pin OCC Silver-Plated
• Impedance: 12Ω
• Sensitivity: ≥107dB/mW
• Frequency Response Range: 10Hz-40kHz

Unboxing & Accessories

Phantom SE definitely falls into that more premium and highly pleasing unboxing experiences, that is of course if you care about that – as is probably clear for those of you who have read my previous reviews, I am an absolute sucker for a good unboxing and BGVP certainly hit the mark here.



As always, easier for the pictures to do the talking…









Bundled accessories:

• Case
• Cleaning brush
• Bass, vocal, and balanced tips in S/M/L
• 1x set of M foam tips
• Cable

Fit & Design

The first thing that struck me when I opened the box was how beautifully finished Phantom SE are, the (close) second thing that struck me was how incredibly small they are… how the heck have they squeezed 8 drivers into each of these?!



The feel premium to touch too, and quite light at the same time – along with the small form factor, they are incredibly comfortable in my ears and I never encounter any sense of fatigue. I must note however that I have experienced slight pressure build, but that now appears to be more broadly with any BCD set as I’ve had the same experience with SHOCK and more recently Durandal from Nostalgia Audio... I can resolve by tip experimentation, but I’m curious as to why this might be… please drop a comment if any insights on why this might be occurring!





I’m not sure if any of my shots quite capture this, but the shells actually change colour when exposed to heat for a while, i.e, in your ears, and of course when you take them out for a bit until they revert to normal… I’ve not timed how long this takes tbh, but the marble effect becomes even more evident.



Cable

The stock cable is finished to a very high standard, terminated to a 4.4mm jack and 2-pin IEM connectors. Unlike the OG Phantom, the SE doesn’t have a modular system and is only available with 4.4mm.



It has a relatively soft feel, not too heavy and little in the way of microphonics which makes it perfect for any listening scenario, be it in bed or out walking. I can see no reason to switch cables, but I appreciate many of you have preferred options to reach for.

Listening Impressions

I’ve had the privilege of trying many IEMs over the last few years, with 2024 seeing an uptick in my activity as a reviewer. More often than not, once a review is complete, the set ends up tucked away in a drawer or, if I’ve purchased it for review, listed on classifieds to free up cash for the next shiny new toy... the hunt is always on.

I can confidently say the Phantom SE will suffer no such fate. This is a remarkable set that has the possibility of landing in the elusive “one and done” category... capable of excelling with virtually any genre in any listening environment. It strikes a fantastic balance between musical engagement and technical prowess while remaining compact and comfortable.

That said, it’s worth noting that older or poorly mastered recordings can sometimes feel a touch flat or lifeless. This is typical for more resolving sets, so it’s not unexpected. I’ll cover more on this later!



The Phantom SE certainly thrives when paired with high-quality, modern recordings, making it a natural partner for detailed, intricate genres within various segments of electronic music. However, its capabilities certainly extend to other genres, my listening bias with IEMs revealing itself here! With its balance of precision and musicality, it adapts seamlessly to virtually any genre, ensuring a consistent and engaging experience no matter what album I choose… perhaps this is where BGVP were going with the colour changing shells, adapting to the environment!

There is a delicate and cohesive sense of placement, emphasizing atmosphere and immersion. This approach results in a highly engaging and beautifully layered presentation, particularly suited for complex tracks, but indeed the presentation really does shift to suit the music… I’ll cover more on this in the track test segment.

Bass

I am a huge fan of sets where there are 2x DDs deployed for the low end, typically providing wonderful distinction between sub and mid bass, which is indeed absolutely my experience with Phantom SE. The BCDs I suspect play a critical supporting role here too, delivering a low end that feels utterly distinctive and refined. Sub-bass, when present, captivates immediately with its precision and depth, adding immersion without overwhelming the rest of the signature. Mid-bass steps up to the mark when called for too, I have been surprised on the quantity available on tracks with heavier beats in say techno or house as I wouldn’t describe Phantom SE as a bass-heavy set, yet it delivers.

Midrange

The midrange continues the theme of precision and refinement, offering a highly detailed presentation with excellent clarity. Vocals and instruments are rendered with a natural and delicate timbre, contributing to the set’s ethereal quality. The mids sit comfortably in the mix, neither overly forward nor recessed, but with an emphasis on maintaining the balance of the overall tuning. This ensures a coherent delivery that works well across multiple genres. I find both male and female vocals sound authentic and no real bias towards one or the other – a revisit to Beck just this week was phenomenal, as was some time spent with the often sultry vocals of the various female guest vocalists with Nouvelle Vague.

Treble

Treble is detailed, crisp, pristine, and extended without veering into harshness. There’s an airiness to the highs that enhances the sense of space, contributing to the atmospheric presentation. While it doesn’t emphasize an overly bright or aggressive treble, the level of detail retrieval is impressive, ensuring even the smallest nuances in a track are brought to life. I’m a huge fan of ESTs for the treble, and Phantom SE are very well executed.

Technical Performance

The Phantom SE shines in its technical performance, especially in creating an immersive and cohesive soundstage. While it trades the razor-sharp imaging of some competitors (looking at you TSMR SHOCK) for a more delicate and atmospheric placement, this approach enhances its ethereal and atmospheric signature, leading to a more cohesive presentation. Layering and depth are particularly impressive, with instruments and elements positioned naturally within the mix. Detail retrieval is exceptional, and the cohesive interplay of the BCDs and other drivers ensures an engaging, captivating, and highly engaging listening experience.



Test Tracks – Including Comparison with TSMR SHOCK (stock setting)

The tracks I’ve chosen for this test drive all come from the remarkable AnotherLateNight and LateNightTales series—compilations that span nearly 25 years and hold a special place in my heart. These albums have been the soundtrack to countless late-night sessions, car journeys, and relaxed dinners over the years. They’ve introduced me to many incredible artists and offered fascinating insights into the influences of the curators behind each edition. A true treasure trove of discovery and inspiration for over two decades!

Roots Manuva – Witness (Walworth Rd. Rockers Dub)



Jumping straight to a track that truly highlights the remarkable bass quality I described earlier, Witness by Roots Manuva is an excellent showcase. The track immediately reveals the bass’s distinctive texture and depth, all while maintaining a cohesive overall signature. The presentation is breathtaking, especially as other elements pan seamlessly across the soundstage.

vs SHOCK...

Switching to SHOCK, I note a drop in resolution and stage size—it immediately sounds more intimate, with the incredibly distinct ‘in-your-head’ imaging that SHOCK does so well. It’s not confined entirely to inside your head but does sound as though it collapses somewhat, for want of a better articulation. The sense of airiness, precision, and that ‘ethereal’ presentation of Phantom SE is immediately lacking in comparison. To be fair, Phantom SE is almost twice the price, so there’s that to consider. SHOCK, however, is no slouch, and I’m reminded of that fact—still a beautifully smooth, engaging set with spectacular imaging.

Don Ray – Standing in the Rain



Let me start by saying what an absolutely outstanding track this is… I cannot listen to this without a big smile coming to my face and indeed a desire to get up and dance wherever I happen to be (which actually never happens just to be clear!). Such a happy, funky, feel-good song! It features on the spectacular Groove Armada AnotherLateNight from 2002, one of my most played in the series over the years. It really reminds me of my first house back then… many great parties, though I’d say my neighbours hated us.

Regardless of being an older track, this actually sounds fantastic on Phantom SE. The sense of space, clarity, and immersive nature is just stunning. The lyrics sit central and a touch forward, while the accompanying instruments pan out left and right with a wonderful sense of depth. It’s perhaps not as vibrant or full-bodied compared to a more recent recording, but an excellent job overall.

vs SHOCK...

Pretty much a rinse-and-repeat of the above in terms of stage size, resolution, and detail. I also note that the lyrics step back a touch in the mix, and interestingly, the overall sound has a touch more body. I guess this is because SHOCK is less resolving. To be honest, with either offering, this track sounds wonderful, albeit different.

Low – (That’s How You Sing) Amazing Grace



It’s thanks to the Trentemøller edition from 2011 that I discovered Low… definitely a case of better late than never, as I’ve been a massive fan ever since. I was deeply saddened when Mimi passed away in 2022; her voice will forever haunt me when I listen to any of their work.

Again, we have this wonderful spacious presentation. While it is apparent that BCDs are at work, they don’t overpower, instead playing what feels likea supporting role to the other drivers. Everything sounds cohesive, yet precise and incredibly clear. You can easily focus on individual parts, but they never sound out of place. Both Mimi’s and Alan’s vocals are in this somewhat intimate, central position and just a touch forward.

vs SHOCK…

I don’t know if it’s fair to use this word, but it’s what springs to mind once I switch: “veil.” I do feel like a veil has been lowered over the track, initially reducing the listening experience. However, with a bit of adjustment, I appreciate the comparative smoothness and intimacy on offer. SHOCK provides a warmer, smoother, and I guess “easier” presentation. But flipping back to Phantom SE, there’s an undeniable wow factor in the step-up in performance. Again, it’s important to remember the near-2x price gap.

Sasha – Baracus



Moving to a more recent production, and quite different from most of the series in that the entire collection is by Sasha… a master of electronic music since the early ’90s as both a DJ and producer. I have many old mixtapes of his from the ’90s stashed in boxes in my attic, and occassionaly dig them out for a bit of listening nostalgia.

This is a great album to really showcase the mix of drivers loaded up in Phantom SE, especially being a more recent and well-produced recording. The sense of space and precision in each element of the track is unbelievably captivating. When the kick drum lands, it does so with spectacular authority, reinforcing my earlier point about the bass: the low end can be deceiving in terms of capability but shines when needed. This track demonstrates that wonderfully. I again note the sense of cohesion and the presentation of an overall body of music… you can zoom into the details but are equally drawn to the bigger picture. That’s something I really love about Phantom SE.

vs SHOCK…

Bit of a broken record here, but consistency is key for the sake of comparison. As you might have guessed, the details drop off and everything seems to close in. However, with adjustment, that’s perfectly okay and offers a different flavour that’s incredibly enjoyable. I would never have described SHOCK as an intimate set, but indeed that’s the word that springs to mind when I switch. Also worth mentioning: SHOCK appreciates more power versus Phantom SE, requiring me to turn the volume up a few notches with each switch. The pinpoint imaging with SHOCK is again highly evident here, albeit again more in-my-head.

Kiasmos – Orgoned



This track features on the Ólafur Arnalds offering from 2016, and it’s another that showcases Phantom SE’s capability with high-quality electronic recordings. The set immediately reveals its spectacular ability to provide a detailed, immersive, engaging, and cohesive overall frame of the music. It’s hard to find the right words to fully articulate what I’m hearing. Phantom SE is just so well-tuned for tracks like this.

vs SHOCK…

Rinse and repeat: SHOCK steps back in some ways but still provides a wonderfully captivating listening experience. One thing’s certain… I plan to reach for SHOCK a lot more once I’ve cleared my current review backlog!

Pablo – Roll Call



This track is from the Rae & Christian collection from 2001, one of my favourites in the series. It’s possibly the most cohesive as an overall mix, playing like a DJ set that evolves over the course of the album… the tracks seamlessly connect and build to a crescendo.

Roll Call always felt like a peak energy moment, bringing a smile to my face, especially now as I recall a youth that feels increasingly distant with each passing year. That said, this track does present a challenge: the older recording falls victim somewhat to Phantom SE’s resolving nature and can sound a touch harsh. This isn’t a fault of the IEM, just a natural result of its technical capabilities, and I wouldn’t classify the track as anywhere near unlistenable, just a touch harsh at times.

vs SHOCK…

SHOCK does a better job here due to being less resolving. The limitations of the older recording are still evident but less harsh. I can listen on both, but I’d choose SHOCK. This track highlights why it’s difficult to own just one set in this hobby/addiction. What makes one set great can sometimes be a drawback, becoming a complementary feature on another. While we often seek more resolving sets, that can certainly become an issue at times.

Giorgio Moroder – Chase (Midnight Express)



A rather apt track to close this segment, perhaps a nod to the journey many of us are on in this hobby, a ‘chase’ to find that ever elusive ‘end-game’, or just seeking out new tunings to excite our senses, and perhaps distract from an increasingly turbulent world… I know that is certainly applicable to me. Anyway, let’s not get all doom and gloom, there is music to be listened to on wonderful equipment… and from the electronic legend that is Mr Moroder.

While an old track, Phantom SE steps up to the mark here remarkably well, presenting a fantastic representation of this classic 70s gem that featured in the legendarymovie Midnight Express. While it isn’t vibrant, again with being an older recording it does sound somewhat thinner, but yet still manages to captivate and present with an excellent sense of cohesion and detail. Moroder was certainly a trailblazer in electronic music, and definitely a massive influence in my musical journey…

Conclusion

When it comes to IEMs, I’m not sure that the saying ‘you can have your cake and eat it’ ever fully rings true. Getting a ‘perfect’ blend of technical performance and musical engagement for every single genre is tricky, and my time with Phantom SE over the last few weeks really had me pondering how close to the elusive cake-eating the set really is. I’d say very close, but there are certainly scenarios, as I’ve noted in the track analysis, where the higher resolution isn’t a great match for older or lower-quality recordings - this is simply a fact that can’t be avoided and an inevitable trade-off in this hobby. Hence, it can be very tough to find just one set for everything. However, where Phantom SE falls short, it has not, in my experience, been a scenario where the track becomes unlistenable. More so, it can come off as a bit thin or flat, and a smoother, less resolving set such as SHOCK steps up here nicely.

Overall, the Phantom SE for me is an easy 5/5 review - a set that is beautifully engaging, with excellent technical capabilities, and a superb all-rounder for pretty much any genre. Coupled with a stunning design, incredible comfort, and an excellent stock cable, you really do get a complete package that once again demonstrates the extent of the value on offer at comparatively lower price points.

I’ve enjoyed many sets throughout 2024, and it will be a tough job ranking them, but Phantom SE will absolutely feature in the top 5 segment.

Kotori Audio ‘Zephyr’

Configuration: 1x DD / 1x BA
RRP: $149



Introduction

Having really enjoyed the ‘Vampire’ from Kotori Audio, I was excited when Ray reached out to me a few weeks ago to tell me about Zephyr, and even more intrigued when he mentioned it was a hybrid set with a single dynamic driver and single balanced armature – my only experience of this configuration previously being the wonderful and much-loved in the community, ‘Project M’ from DITA Audio.

I would like to thank Ray for sending me this review unit, and as always, all thoughts and photos are my own.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Kotori Audio (from their website…)

We, Kotori Audio, take pride in our engineering finesse and meticulous attention to detail, focusing not only on technical excellence but also on the human aspect of the experiences our products deliver.

Established in 2019, our team embarked on a journey to create the ultimate auditory experience through our everyday listening devices.

By honing and accumulating knowledge and techniques, coupled with a methodical approach to product design and engineering, we are committed to the continuous development of high-quality audio products for everyday enjoyment.



Driver Configuration

Titanium coated dynamic driver and Knowles balanced armature driver.

Kotori provide excellent details on both of these drivers, but for the sake of space I’ll drop these into a spoiler – those of you who might fancy diving deeper, go ahead and hit the spoiler button…


Specifications

1BA + 1DD Hybrid Driver Configuration

• 10mm Titanium-coated Membrane Dynamic Driver Knowles® Balanced Armature Driver

Frequency Response

• 20Hz - 20KHz

Impedance & Sensitivity

• 18.1Ω DC Impedance / 18.3Ω @ 1kHz 92.6dB/mW @ 1kHz

Kotori Audio CARBON 3 IEM Cable

• OFC Silver-plated Copper Litz
• Gold-plated Right Angle TRS 3.5mm / 0.78mm 2-Pin 28 AWG / 2 x 2-Core

Unboxing & Accessories

Zephyr arrives in understated yet charming packaging that exudes a sense of pride and craftsmanship from the Kotori Audio team.





Opening the outer sleeve reveals an embossed logo on the inner box, leading to a neatly arranged presentation of the contents.









Fit & Design

Zephyr sports an aluminium faceplate paired with a resin shell, striking a balance between durability and elegance. While the shells are on the larger side, the nozzles provide a snug, secure fit in my ears with no discomfort—aided by their lightweight design. My large ear canals do require the largest tips available, which is where my trusty Acoustune AEX07 in XL come to the rescue yet again.



The build quality feels excellent, with a sturdy yet lightweight construction. Personally, I’m drawn to the minimalist styling that complements Zephyr’s refined presentation.

Cable

The included Carbon cable is a beautifully crafted, lightweight and with a soft, rubbery texture that screams quality. While I admire the simplicity of the fixed jack, I can’t help but wish for a modular system or at least a 4.4mm termination option for balanced sources. That said, its current configuration does align well with the IEM’s minimalist aesthetic. Overall, I think the cable is absolutely fantasic, especially as a 'stock' cable at this price point...









Listening Impressions

Zephyr’s tuning leans neutral with a tasteful bass boost. While not a bass-head’s choice due to limited sub-bass extension, its overall balance ensures you’re rarely left wanting. The mids take center stage, delivering a natural and detailed performance with superb timbre. Treble, though slightly subdued, remains airy and relaxed—perfect for long listening sessions without fatigue. The overall sound signature is natural, clear and smooth, although it shines best with higher-quality recordings, as older or poorly mastered tracks can feel a little harsh on this revealing tuning.

Zephyr scales nicely with additional power, thriving when driven by a desktop amplifier or higher-powered sources.

Bass

The bass skews towards mid-bass, offering excellent punch and density in kick drums, which lends an emotive and engaging quality to the sound. Sub-bass, while present, lacks the depth and rumble of more bass-focused sets. However, the tuning remains cohesive, with the bass adding warmth to the signature without veering into clinical territory. At this price point, the quality and timbre of the bass are undeniably impressive.

Midrange

The midrange is the heart of Zephyr’s tuning. Vocals and instruments feel lifelike and precise, with a touch of warmth carried over from the mid-bass to infuse emotional resonance. The mids command the majority of the tuning’s focus, occupying an estimated 60% of the signature, and deliver a spacious and open soundstage. This balance ensures vocals and acoustic elements are particularly compelling without ever sounding congested or overly lush, a nice balance.

Treble

Treble is precise yet subdued, rolling off slightly in the higher registers. While it lacks the sparkle or crispness of some brighter sets, it maintains enough airiness to preserve detail and spaciousness. This relaxed treble presentation is well-suited for listeners sensitive to higher frequencies and facilitates long, fatigue-free listening sessions. Despite the roll-off, detail retrieval remains commendable, staying true to Zephyr’s natural and unforced presentation.



Technical Performance

Zephyr exhibits the classic 2-channel presentation reminiscent of traditional single dynamic driver setups, with a natural and focused left-right soundstage. Depth and layering are impressive, giving instruments a realistic sense of positioning in the mix. Resolution and clarity are where Zephyr truly shines, offering a high-definition presentation that prioritizes precision and timbre. While micro-detail retrieval isn’t its strongest suit, the cohesive and easy-going tuning is more about natural enjoyment than hyper-analytic scrutiny... or indeed the dreaded 'clinical' tag that some sets suffer.

Conclusion

Kotori Audio impressed me with Vampire, and Zephyr continues that momentum. At $149, this IEM punches nicely above its weight, offering a complete package that stands out in a crowded segment. From the refined build and design to its natural, clear but still emotive tuning, Zephyr delivers a performance that is very easy to love.

It’s exciting to see such passion and dedication from this young brand, and I can’t wait to see where Kotori Audio goes next. With Zephyr, they’ve delivered a breeze of fresh air in this price segment —one that gently nudges expectations higher... definitely an exciting period in this hobby!

iFi Go Bar ‘Kensei’
RRP: $449.99



Introduction

This is my second experience with an iFi product, a brand that’s been on my radar for the past few years. They have a strong presence on Head-Fi and regularly show up in my Amazon recommendations... no doubt Amazon knows my browsing habits a bit too well. My first encounter with iFi was the Gryphon, which I picked up about two years ago. It was a beast of a DAC/amp with impressive performance, but I ran into a hardware issue unfortunately as the 4.4mm jack was stiff, and after a few days, some internal parts actually came loose while unplugging an IEM. It was a bit of a shock, so I decided to return it, which was disappointing because I really liked the Gryphon...

Lawrance from iFi reached out to me a few weeks ago, suggesting I try out the Kensei. It felt like the right time to give iFi another shot, and I’m glad I did. This review will dig into what makes the Kensei a standout device for me.

The Kensei was sent to me free of charge in exchange for my thoughts and as always, the brand has no input to my review.

About Me…

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About iFi Audio (from the brand website)

Since launching in 2012, your love of music is why we continue to pour our heart and soul into creating audio devices that make a difference to how you live your life.
It’s why we oversee the design, development and manufacture of more than 50 products from our headquarters in Southport, UK.
It’s why we source parts from across the globe including Germany, USA and Japan.
And it’s why we set up our distribution centre in the USA who serve industry leading retailers such as B&H and etailz and work hard on increasing our global network.

Specifications

• Input: USB-C
• Formats: PCM: 44.1/48/88.2/96/176.4/192/352.8/384kHz; DSD: 2.8/3.1/5.6/6.1/11.3/12.3MHz; DXD: 352.8/384kHz; MQA: Full Decoder
• DAC: Bit-Perfect DSD & DXD DAC by Cirrus Logic
• Headphone Output: BAL 4.4mm/S-BAL 3.5mm
• Output Power (RMS): Balanced: 477mW@32Ω; 7.2V@600Ω, S-Bal: 300mW@32Ω; 3.8V@600Ω
• Output Impedance: ≤1Ω (≤3.6 Ω with iEMatch engaged)
• SNR: 132dB(A) / 121dB(A) (BAL/S-BAL)*, 114dB(A) / 114dB(A) (BAL/S-BAL)
• DNR: 108dB(A) / 109dB(A) (BAL/S-BAL)
• THD+N: Balanced: ≤0.0025% (600Ω 2V) @ (20-20KHz), S-Bal: ≤0.009% (16Ω 1.27V) @ (20-20KHz)
• Frequency Response: 20Hz - 70kHz (-3dB)
• Power Consumption: <4W max.
• Dimensions: 65 x 22 x 13.2 mm
• Weight: 65.5g

Unboxing

The Kensei arrives in what initially seems like a standard box, with typical branding and details. However, upon opening, it becomes immediately clear that iFi has gone the extra mile with a presentation that’s anything but ordinary. Inside is a stunning wooden box adorned with intricate Japanese-inspired artwork... a beautiful and unique touch that singals the premium nature of the product.

Accessories

The Kensei comes with everything you need to hit the ground running. The aforementioned wooden box is not only a functional storage solution but also a piece of craftsmanship that earns its place on any audio enthusiast’s shelf. Additionally, a premium leather holster with magnetic closure is included, which has enough space to carry the Kensei and one of the provided cables.



Included accessories:

• Leather case
• USB-C to USB-A adaptor
• USB-C to Lightning cable
• USB-C to USB-C cable

Design

The Kensei feels luxurious in the hand with its robust, stainless steel construction. Despite its compact form factor, it carries a reassuring heft, which might be noticeable in your pocket but feels consistent with its high-end nature.



The buttons, which include volume control and a function button, are soft yet tactile, providing a satisfying click when pressed. The +/- increments are very well-executed, tapping up or down results in very small adjustments, allowing you to really tweak to your specific volume preference.



On one end, you have 3.5mm single-ended and 4.4mm balanced outputs, while the other houses the USB-C port. Both audio jacks feel secure yet easy to use (phew!).





Another thoughtful touch is the rear-mounted LEDs that indicate the format being processed - convenient for quick at-a-glance reference… and indeed looks pretty cool, I certainly enjoy subdued LED lights as I feel they add to the overall premium package.





Features

One of the most notable aspects of the Kensei is its power output, delivering up to 477mW @ 32Ω (balanced) and 300mW @ 32Ω (single-ended). This makes it capable of driving a wide range of headphones, from IEMs to more power-hungry full size headphones with ease.

The inclusion of iEMatch technology ensures silent operation even with sensitive IEMs. While I encountered some initial buzzing with my FIIO FA19 (and was briefly a bit worried, thinking it might be a fault!), enabling the iEMatch switch eliminated the issue immediately.



Switching between sound settings takes a little getting used to, with combinations of button presses enabling features like Turbo mode and the signature XBass and XSpace enhancements. These features provide customization options to suit various preferences and genres, adding versatility to the listening experience. The font is rather small also, so those of you who might be like me with somewhat declining eyesight, prepare to do a bit of squinting or holding towards a light source… the joys of age. I'd recommend reviewing the manual to get a grip on how to adjust all of the sound features.

As per the vast majority (if not all?) dongles on the market, the power is sourced from the host device. I must note that virtually all of my listening has been via my laptop, so I can’t comment unfortunately on the extent to which it drains battery power from a phone.



The Kensei becomes somewhat warm during use, but at best lukewarm, certainly nothing more.

XBass & XSpace

The XBass feature takes me back to the 1990s or early 2000s, reminiscent of the “bass boost” modes on old-school portable audio gear. Activating it injects an immediate sense of warmth and weight to the low-end, adding a noticeable rumble and a good solid slam as kick drums hit. While I don’t use it that frequently, it’s great to have as an option for tracks that benefit from extra low-end energy.

Switching to XSpace creates a vastly different effect, significantly widening the soundstage and pulling back on the bass somewhat. I am listening to 36’s "Exit All The Lights" as I type this, and I was very impressed by how the soundfield expanded, lending the music a more ethereal and quality. This setting can make some vocals sound a touch thin but excels for instrumental and ambient genres in particular in my experience… possible a case of your ears needing to adjust though, especially when switching from XBass.

K2HD

The K2HD feature, developed by JVCKenwood, enhances digital audio by restoring harmonics to create a more natural, organic sound. Activating it involves holding the options button for a few seconds, followed by a quick press of the volume button to select K2HD. The accompanying LED lights up to confirm the setting.

With this mode enabled, I found the sound to gain a smoother, more intimate character. It pairs particularly well with ambient and classical tracks, enhancing their sense of nuance and texture. While I don’t use it universally, I’ve kept it enabled for roughly 70% of my listening, which speaks to its impact on my experience.

Listening Impressions

The Kensei delivers an impressively clear, detailed tonality that feels well-suited for a wide range of genres. Bass is deep and impactful without overpowering, striking a perfect balance between power and control. The midrange shines with clarity, presenting vocals and acoustic instruments with texture and depth, while the treble extends smoothly, offering crisp detail and air without harshness.

Switching on XBass instantly enhances the low frequencies, providing a richer, more energetic presentation that pairs wonderfully with electronic, dub, and other bass-heavy genres, albeit a touch too much for me at times on recordings that are already very bass-focused. Conversely, the XSpace setting adds noticeable width to the soundstage, creating an expansive, immersive listening experience. Activating K2HD, probably the standout feature of the Kensei for me, brings a refined harmonic texture to the sound, and adding a touch of organic warmth that complements genres like modern classical or acoustic music to name two, yet doesn’t compromise in terms of resolution and detail.

As previously noted, power output is a real highlight, as the Kensei has no trouble driving hungry headphones like the HD650, all while maintaining excellent control and dynamics. Sensitive IEMs also perform exceptionally well, with the iEMatch feature ensuring dead silence and eliminating any trace of hiss, a perfectly black background.

Across all configurations and pairings, the Kensei adapts beautifully, offering an exceptional level of versatility… intriguing to look at a such a relatively small device, and experience what it’s capable of.

Regardless of what genre shelf I reach for, the Kensei consistenly impresses me with its ability to convey music with both emotional engagement and technical excellence. It’s a compact powerhouse that consistently delivers a high-end listening experience.



Comparisons

Potentially unfair comparisons, given the significant additional investment required to step up to Kensei, but at the same time, perhaps useful to illustrate what you get for the extra $$$.



DITA Navigator ($299)

The Navigator has been my go-to dongle for many months now. From a features perspective, there are quite a few differences – for Navigator, these lie more in perhaps features that will be more specific to rather niche preferences; a kickstand for a mobile phone, a built-in Philips screwdriver, and probably one of the most robust designs on the market… but as I say, these will be somewhat niche – although on a recent flight, I was kicking myself for not bringing Navigator while trying to find something to prop my phone up as I watched a movie on Netflix! Kensei on the other hand provides tuning configurations that allow you the flexibility to tweak the audio to your preference, arguably a more popular feature for a dongle, but the Navigator has an incredibly quirky charm in terms of the overall design and set of functions.

Getting down to sound, the most obvious immediate difference is the power output for both single-ended and balanced… Kensei delivering 477mW balanced, and 300mW single-ended, versus 340mW and 110mW on the DITA. You can immediately hear the difference the extra power makes, especially on sets like Erebus from NGAudio, that extra power under the hood makes the tuning sound more vibrant, dynamic, and energetic… I suspect the hungry ESTs appreciate the power. Kensei sounds more detailed too, not quite as warm as Navigator – not that Navigator is too warm, but I note the difference in temperature when switching, Kensei just sounds more lively, vibrant, and energetic, and even with the extra detail, certainly not clinical.

Cayin RU6 ($249)

The RU6 is the oldest of the bunch, and a dongle I’ve had since it was released – I think possibly 2022? While similar in size (even though it looks larger in the picture above, just shadows), it certainly weighs far less and feels significantly lighter. As one would expect with R2R, the RU6 immediately sounds smoother, more organic, and more relaxed overall as a result – that coupled with the lower power (213mW balanced, 138mW single-ended) leads to a far less energetic presentation, lacking the detail and dynamism of Kensei, plus steps back quite a bit from a soundstage perspective. R2R is a unique proposition though, and incredibly captivating so there is absolutely an argument to own both, reaching for one or the other as the mood or music suits… if however you are a one-dongle person, it will really be down to your preference of source signature, and crucially whether you need the extra power on offer from the Kensei. RU6 definitely not leaving me anyway.

Conclusion

The Kensei stands as a testament to the art of audio engineering. Its premium built quality, powerful output, and exceptional sound performance make it a standout choice of dongle. While the price may place it in the upper echelons, you do indeed get what you pay for... a stunning design, a robust feature set, and sound quality that sets it apart from the competition - oh and of course a beautiful wooden box

As Musashi once said, "Perception is strong and sight weak. In strategy, it is important to see distant things as if they were close and to take a distanced view of close things." The Kensei encapsulates this philosophy, bringing the finest details in music to the forefront while maintaining a balanced, expansive soundstage. With its unparalleled precision and artistry, the Kensei truly lives up to its name "Sword Saint" offering a "Way of Sound" that cuts through the ordinary and elevates your listening experience to something truly extraordinary.

For those seeking uncompromising quality coupled with one of the most beautiful looking dongles on the market, the Kensei delivers in my experience, and should you choose to invest, I honestly cannot imagine you will be disappointed, and indeed I cannot imagine you will see a need to upgrade for the foreseeable future!

Finally, worth noting that the Kensei was recently awarded with the prestigious EISA award for Best Compact DAC 2024-2025, a testament to its standout performance and design.



Thanks again to iFi for the opportunity to review Kensei, definitely exceeded expectations.