NiceHCK ‘Himalaya’

• Single Dynamic Driver
• RRP: $329

Introduction & Caveats

A Head-Fi member reached out to me a number of weeks ago to say NiceHCK were going to be launching a single DD which will be a big step up for them, yet with a goal to compete with IEMs at even higher price points… this member felt as I’m a fan of single DDs, and have own/owned quite a few at various price points, that I might be interested in trying this. I was of course curious, even though I had only been thinking I would take my foot off the review pedal for a while so as to stop and enjoy what I own - the challenge with reviews and especially when a few in the queue is that any spare time is spent just listening to the IEMs pending review so as to become familiar - this can feel a bit like work at times, instead of just reaching out for whatever set in my collections takes my fancy based on mood, choice of music, etc… anyway, I couldn’t resist, and said yes please - how could I say no to a single DD?!

I would like to thank NiceHCK for the opportunity, the Himalaya were sent to me free of charge in exchange for a review - as always, they didn’t cross my palms with silver or gold, nor did they wine and dine me in Michelin star restaurants… my words, my impressions, my pictures etc.



A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



About NiceHCK

I suspect most in this hobby are at the very least aware of NiceHCK, a brand probably most known for good value cables, and especially during the famous AliExpress sales where they are often reduced from $1,500,000,000 to $29… I jest, but you get the drift. I can’t find any direct website, as they appear to only sell directly via AliExpress but they’ve certainly been around for a few years now.

Specifications

• Flagship Titanium-Alloy Cavity Dynamic Driver IEM.
• Aerospace-Grade Titanium-Alloy Shells.
• 10mm Dual-Magnetic Dual-Layer CNT Dynamic Driver.
• Replaceable Acoustic Filters.
• 5-axis CNC Machined Ear shells.
• Multi-curved Ergonomic Shape.
• 3-in-1 swappable Termination Plug.

Unboxing

The Himalaya arrives in a nice box and with an overall experience I would say is in keeping with the price tag.













Accessories
There are a nice selection of accessories, to include:

• Great selection of tips that appear to be from Kbear
• Case
• Cable clip
• Cleaning brush
• Tuning nozzles

Design & Fit

The Himalaya are a titanium shell with a nice smooth finish - very understated design which I tend to prefer, literally the brand printed on one shell, and Himalaya on the other. They have a bit of weight to them but don’t feel heavy in my ears, I do not experience any sense of fatigue during extended listening.



The 2-pin connection is flush on the shell, and the stock cable fits nice and securely. I haven’t used any 3rd partly cables so can’t comment here on fit etc.

This is where it gets a bit tricky, possibly not for all as it will really depend on your ears but the small and stumpy interchangeable nozzles could be a problem - I got them to work by choosing the largest tips in my collection, that being the excellent Acoustune AEX07 in XL which are 14mm wide and comprise of a soft yet relatively robust material that ensures a good fit in my ears for any set that proves a bit more challenging. A massive improvement however was brought to my attention by @Dsnuts where he recommended trying the nozzles from the Simgot EA1000, and this was an absolute game-changer - the slightly bigger EA1000 nozzles allow for a much better fit, and also improve the delivery of sound in my experience too.

Pictured below with the XL Acoustune AEX07 tips.



The stock nozzle pictured below on the left, with the Simgot EA1000 on the right.



The nozzles detached, with Simgot EA1000 on the left, and stock Himalaya on the right.



Listening Impressions

I feel somewhat long-in-the-tooth now in this hobby, as I’ve owned and tried so many sets at this stage, be it good value entry-level, to ridiculously expensive top-tier sets, and delighted to report that I continue to be surprised for the most part - especially at lower price points. I would love to have tested Himalaya in a blindfold experiment, as I suspect I would have guessed at least 2x the price point, and probably even more… these sound truly fantastic. I would describe Himalaya as having nicely balanced smooth tuning, warm, and very competent technical capability considering the price point. I have been very impressed with how these handle basically any genre I test, be it atmospheric ambient music to complex experimental music - vocals are a huge strong point too, with both male in particular sounding accurately portrayed with a visceral central position, not recessed yet not too pushed forward either. I often end up pigeonholing a set to a few genres, and only reach for them when the mood calls - with Himalaya I’m definitely finding immense enjoyment no matter what the genre, truly a highly competent all-rounder no matter what music I select. Nothing stands out as dominant, again there is an excellent sense of balance throughout the frequencies. While there is sufficient energy, I wouldn’t class them as an especially ‘energetic’ set, they go for a somewhat more relaxed approach but will do justice to basically any genre you care to throw at them.

I must note that since the discovery of using the EA1000 nozzles instead, I have been unable to switch back - you can’t reverse a ‘game-changing’ experience. I hope NiceHCK take note of this and include some bigger nozzles… but even if they don’t, and you find the stock nozzles a touch too small, I encourage you to buy the nozzles from EA1000, and then send your thanks towards Dsnuts!



Bass

Ample low-end on offer here for both sub and mid bass, with excellent control and speed. I would say sub bass has a slight bias, but not massively so. They have that mid-bass ‘kick’ that lands in a central position, one that I’ve noted in previous reviews as being something that reminds me of the wonderful ‘sweet spot’ when listening to a 2-channel system setup. While they aren’t at that ‘bass-head’ level, I’d be surprised if anyone is left wanting here.

Mids

Beautiful mids that exhibit wonderful lifelike qualities with any instrument from strings to electronic. While the overall experience as noted is quite balanced, there is perhaps a slight bias towards mids where they do tend to grab my attention in terms of a lush and captivating tonality. There is a nice weight to the tone, but by no means muddy - excellent clarity and plenty of space. The note weight I feel leans more towards male vocals than female where the body can be a touch heavy for higher pitched vocals.

Treble

The upper region is what I would describe as ‘safe’ where the lower treble region never overextends, nor do the highest registers ever become too harsh or sharp - there is still however sufficient extension to allow instruments extend as might be called for. They do take a slight step back in the upper most regions, which does mean you don’t quite get that ethereal or visceral ‘zing’ that can be achieved in this region, but on the flip side, this can be a double-edged sword on some recordings, leading to a harshness that interrupts the listening experience - this is not something I’ve encountered with Himalaya. Overall, I find there is nice amount of extension up top and again sits in that ‘safe’ zone but some might prefer more extension and air here.

Technical

The sense of instrument positioning and layering of music jumped out at me immediately when I first got these, it was one of those moments where you are almost caught off guard - in spite of the warmth and smoothness, the Himalaya still manages to portray a very precise sense of imaging. I’ve said it many times with regards to single DDs, I love how they remind me of a 2-channel system where the centre image becomes a focal point, with everything emanating out into a wide stereo field - think of the ‘sweet spot’ in 2-channel. They don’t go for microscopic detail but certainly provide enough not to be dubbed as a slouch here - I’ve tested some of my more complex favourites and not been left wanting.

Test Tracks & Comparisons:

I’m using the Sony NW-WM1AM2 for the test tracks, a DAP that I really adore and pairs wonderfully with Himalaya.



Oberst - Marble Arch (electronic / Krautrock)

It only takes a few seconds for this track to kick off and my foot it tapping and a big smile on my face. As often happens when I’m at this section of a review, and scrolling through my albums, stumbling upon one I’ve not heard in a while and decide to give it a spin. This has a classic Berlin School / Krautrock type electronic vibe going on, melodic synths and nice driving percussion - the kick drum has a really nice visceral thud, the synths sound lush and spacious across the stage, the overall listening experience sounds quite analogue.



Aukia - Rekindle (modern classical / electronica)

It is phenomenal to hear how this sounds on Himalaya - the combination of note weight, timbre, stage, imaging, and layering all make for a beautifully engaging experience… utterly captivating from start to finish. The upper realms of strings sparkle out left and right, the bass upon arrival feels like it reaches to the depths of my chest… and again it all sounds very analogue, wrapping you up in a blanket of smoothness.



Cigarettes After Sex - Keep On Loving You

I really love this cover, probably as much as the original. The vocals are central, full-bodied, and delivered with fantastic clarity within the overall presentation - probably a slight touch forward. Very impressive to hear the various components of the band presented in a warm/engulfing somewhat intimate and highly captivating experience.



Agnes Obel - Run Cried the Crawling

I haven’t listened to this album in a while, but often choose a track for a review - I must do a session with the full album. The vocals are again nicely central, a touch forward and with excellent body - perhaps a touch too much where Agnes might be best with a bit more in the upper mids, but will see when I compare with other IEMs. Having listened to the others to compare, and now coming back to Himalaya again I can confirm this set has a smoothness and warmth that provides a more intimate experience.



Pitch Black - Lost in Translation (electronic / dub)

This is a great test for sub bass where a deep/rumbling bass line pulses throughout the track, along with a fantastic offbeat percussion. Absolutely 5/5 here with Himalaya, while the sub does occupy a reasonable amount of space, it is in no way overwhelming or drowning out any other elements within mids. Nothing sounds out of place or harsh, the DD keeps up wonderfully with all of the minute details and brilliantly represents the entire FR spectrum on show.



Leif - Seven Hour Flight to Nowhere (experimental electronic)

Taken from the really spectacular album ‘9 Airs’, one which hardly a month goes by without me listening. This is a great example of how well Himalaya renders imaging and layering, in this case sounding quite holographic - it has that sensation where I find my eyes almost trying to ‘see’ the location of what I’m hearing! The timbre is beautiful, bass has a nice depth and visceral but not massive in quantity which is what I expect in this track.



Lone - Realise (downtempo electronic)

A dreamy electronic track that has nice early 90s vibes going on… one for either building up a night, or on the other end when chilling out. While it’s not particularly complex, there is a reasonable amount going on in terms of drums and synths and the overall ‘ethereal’ vibe the track gives which is very well represented on Himalaya - the warmth and smoothness coupled the sense of space and imaging is fantastic. I feel inclined to really keep increasing the volume on this.



KiloWatts - Night Writer (IDM… ish)

Another that performs without flaw, and another that really drives that ‘wow’ factor from an imaging perspective - there is a lot of detail in this track and you hear each element with such stunning pinpoint clarity, it’s one of those where you almost question how just a single DD at play here.



Heogen - Glas Blackbirds (IDM)

This is taken from the really fantastic ‘Full Spectrum’ compilation from the wonderful Touched Music - as always with this label, all proceeds go to charity and in this case to REACH who help young people with autism. 2x CDs of some of the best modern electronic music, and this was one this really jumped out at me on first listen recently. Beautifully rendered on Himalaya, the melodic synths sending shivers through me from start to finish.



Comparisons

DITA Project M ($330)

This is a brighter set, and steps back from a sub bass perspective. There is a lighter note weight which lends itself more towards female vocals, strings etc when you want to soar a bit higher. The overall presentation sounds more airy, as such giving a greater sense of micro-detail.

Final A5000 ($300)

The A5000 sounds more neutral overall, and could be considered a touch ‘boring’ possibly when switching from one to the other, but upon adjustment it’s just simply a more balanced/less coloured set. It performs incredibly well as an all-rounder and a bit of a ‘jack of all trades’ for any genre. It’s a set I often choose for out walking due to the small and incredibly light shells.

Simgot EA1000 ($230)

The EA1000 is a much loved single DD in the community, and that very much includes me. From a bass perspective, I would say the EA1000 excels with mid-bass where there is better impact and definition, and sub steps back vs Himalaya which extends deeper with a more visceral rumble. The note weight is lighter, and again better suited to female vocals vs Himalaya - it has that more CD-like presentation vs a smoother, analogue vinyl-like presentation with Himalaya.

Conclusion

This price segment continues to excite me - the quality on offer really does drive the whole ‘diminishing returns’ argument event further, you get serious bang-for-buck with the $329 asking price for Himalaya. If you are seeking a smooth set, with a nice robust/full-bodied sound, reminiscent of an analogue vinyl-like presentation, the Himalaya should certainly be on your shortlist. As noted, if looking for a brighter and more airy set, this probably won’t meet your requirements and I would suggest the likes of Project M in this price category - two sides of a coin with both sets, each arguably offering incredible value for money, punching significantly above their asking prices and offering a very different take on your library - highly complementary sets should you choose to invest in both! Hats off to NiceHCK for this step up to a more expensive segment, I’m very impressed.

Orivetti OH700VB

• 10mm Dynamic Driver and 6 Balanced Armatures
• RRP: $699 (available HERE)

Introductions & Caveats

I love when a review comes along that I would consider to be ‘easy’ - that being, the subject of the review is simply easy to enjoy or indeed love, as such the words can flow with relative enthusiasm. The OH700VB is exactly that - hard to find much fault here, especially at $699. Orivetti are a brand I’ve seen mentioned over the last couple of years and always in a very positive light - it was only this year however that I finally took the plunge, jumping aboard the OD200 train - just in case you missed this one, it’s an excellent single DD selling for $199. Not long after I first tried the OD200, I read a lot of high praise for their flagship hybrid, the OH700VB, and was delighted to then have the opportunity to review this set - thank you to Marco at Orivetti. The OH700VB was provided to me free of charge in exchange for a review… as always, all words are my own based on my ears/music/sources… your journey may be very different, but I do my best to convey my experience in a way that can hopefully enlighten the reader as to the broad capabilities of any set.



A bit about me… (if you’ve read my previous reviews, you might just skip this - not much here has changed )

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



About Orivetti (taken from their website)

ORIVETI is an innovative brand providing HiFi quality audio products for daily use by the most discerning listeners.

Founded in 2015, we started from a position of strength with years of engineering and design experience within the earphone/headphone industry.

In this tough and competitive market we feel there is still room for knowledgeable brands with new ideas to emerge. Because we understand the importance of sound, fit, comfort and reliability, we believe ORIVETI is ready to excite and impress listeners across the world.



Specifications

Driver: Exclusive 6BA driver (2 for high, 4 for mid) + 10mm Dynamic Driver (for low)
Impedance: 12 Ohm
Frequency Response: 20 - 20000Hz
Sensitivity: 112+-3dB/mW, 1000Hz
Distortion: <1%
Plug: Gold-plated 3.5mm Stereo / 2.5mm balanced / 4.4mm balanced Plug

Unboxing Photos













Design & Fit

These are an incredibly well designed IEM with what I would consider pretty much a perfect fit for my ears - that of course won’t be the case for everyone, but I’ve read many comments saying the same so I feel pretty confident Orivetti have designed these in a way that will suit most. There are no hard edges, or sharp corners - everything is smooth… the shape, finish and sound! I’ve been using Azla Crystals in large which provide excellent isolation. They are of course vented, and I’ve had no issues with pressure build, something I do regularly face problems with. They are a 2-pin format (which reminds me, MMCX seems to be further dropping away?) and while the sockets aren’t recessed, the supplied cable 2-pin plugs fit very securely. Oh and they are also very light so you barely feel them in your ears… plus taking them out in bed at night and putting on my bedside locker doesn’t disturb my wife, these are all ‘real world’ considerations in our hobby...







Cable

I love when I get an IEM and the stock cable can be wound up into a neat package, and doesn’t spring back out and sprawl in various directions as if it has an entire life of it’s own… a picture of course tells many words… The cable is light, supple, and has very low microphonics - I’m not aware of a cable as yet that has absolutely ‘no’ microphonics, and this is as good as it gets in that regard.



The modular system to switch between 3.5mm and 4.4mm is easy to use but doesn’t pop out by accident as has been the case with some others I've tried.





2-pin connectors with clearly marked 'right' and 'left' - probably an age/eyesight thing, but I often have to go hunting for a small red dot, or barely visible tiny L and R indicators!



The supplied case is well made and houses the IEM and cable with plenty of room to spare.



Listening Impressions

I've used a variety of DAPs with the OH700VB over the last few weeks, and find they are easy to drive and not fussy on the source. For the purpose of this review, my test tracks are via my LPGT Ti.

The overall tuning profile is smooth, engaging, immersive, captivating with a nice balance across the FR, starting out with deep, visceral sub-bass, impactful mid-bass, clear/articulate mids, and treble that while pushed a touch forward, isn’t harsh or in your face - it has a crisp execution that remains polite. They lean a lot more towards musical than technical, which of course may not suit everyone and again this really depends on what you are looking for… if you want more clarity, resolution, or more neutral tuning, this wouldn’t be the best choice. The bass switches are quite effective, obviously enhancing the low frequencies which in turn pull back on the overall sense of air, as such choosing to use or not will be highly dependent on the choice of music.





Bass

There is a sub-bass emphasis over mid, where it extends with a rumble that is still well controlled and never overwhelming or intrusive (possibly at times with the bass switches on if already bass heavy music), it has yet to disappoint me and I’ve had many, many hours of listening pleasure over the last number of weeks. While mid-bass steps back a bit, and I appreciate that is more common in a lot of IEMs, certainly no slouch either - you do get a good mid-bass kick when needed, and it’s obvious a DD at work here where you can almost feel the vibration of a solid kick drum impact. Timbre is nice, again you’ve got more of a smoothness and warmth so if looking for more ‘precision’ and clarity, this won’t be the best choice.

Mids

The theme continues with the mids whereby we’ve that smooth presentation, but still good clarity and detail. I’ve found both male and female vocals render well with good authenticity and in an appropriate central position. Upper mids don’t extend which is a bit of a double-edged sword in that from a positive perspective, there are no disturbing peaks for those who are sensitive to this region, but the trade-off in my opinion is where the likes of violin strings for example don’t quite hit the peaks I might expect. Overall though the mids are well done with plenty of emotive engagement and that overall ‘smooth’ and safe presentation, but can happily accommodate busier tracks with complex arrangements and portray in a more lively way.

Treble

There is a reasonable level of sparkle up top, but I would suggest maybe not a set that will fully satisfy those looking for more energy in this region. My ears are hitting half a century it must be noted, and I’m definitely less sensitive in this zone but nothing offensive in my experience over the last few weeks, and even with the treble being a touch subdued, there is still reasonable air and clarity that often aids in extending the impression of space on the stage.

Technical

These are absolutely not a set that focuses on the technical nuances that some may seek, the focus so much more on the overall musical experience. There is a still a large enough soundstage and while not a precise or microscopic level of attention to imaging or layering, you can still distinguish individual instruments and there relative position on stage, it just won’t be the focus or really grab your attention the way sets that are more competent in this area can do.



Test Tracks

DIIV - Horsehead (indie/shoegaze)

This is the opening track to the 2019 album ‘Deceiver’ from New York band DIIV. I first discovered DIIV from the excellent 2015 ‘Oshin’ which I really must revisit. Anyway, this is a pretty energetic track with almost chaotic climaxes of electric guitars, percussion, bass, and vocals - well handled here as nothing sounds too congested or harsh, however I’ve certainly heard better from a resolution perspective in pinpointing the various components. It sounds better with the bass switches turned on, providing more body even if slightly to the detriment of air.



DF Tram - A Thousand Knives (downtempo/dub/electronica)

An incredibly well produced album that has very clear influence from early ambient/dub masters, The Orb. This is a great track to really show off the bass prowess of OH700VB, where you really get to experience the deep sub rumble. It's not an overly complex track, everything is well rendered with plenty of air and space. There are a lot of samples that seem to pop up around the stage, sounding quite lifelike and giving an almost 3D sensation. Percussion is airy, intermittent vocals drift in and out of the centre and again nicely rendered. This is a fun track, from an excellent album and perfectly suited to this IEM… especially with the bass switches set to on.



Marconi Union - These European Cities (ambient/downtempo/guitar)

I discovered Marconi Union from the 2012 album ‘Distance’ and have been a fan ever since, buying all of their releases. This is the sort of music that really can sound good on any IEM but I would tend to prefer a set that allows more resolution and precision, that being something like Turii Ti which is my go-to for music like this. The OH700VB does a very nice job however, captivating and the mid bass impact which switches on is very apparent, a good solid pounding thud. The guitar sounding ethereal, but perhaps again lacking a bit of edge due to resolution



Steve Roach - A Circular Ceremony (ambient)

This track features on the classic ambient work ‘Dreamtime Return’ from 1988. It was remastered in 2018 for it’s 30th anniversary, and sounds absolutely wonderful - this is a great example of an album to get a sense for the original masters of ambient music. The smooth, warm profile of OH700VB works wonders on this track, and a reason why I often choose this set to chill in bed with ambient music before I sleep. Closing my eyes to this, I feel like I’m whisked away to a remote island, in a warm bliss of swirling sounds across a large landscape. I’ve chosen the off position for the bass boost here as I prefer it to open up to a more airy presentation.



GCOM - Ocean Dreams (electronica/downtempo/ambient)

This is a solo work from the legendary Tom Middleton of Global Communication fame and features on the 2019 album ‘E2-XO’. While not dance floor material, certainly more upbeat compared to the last couple of tracks, and an opportunity to test this set with the inclusion of drum programming along with more complex arrangements. It sounds ‘cinematic’ with lush synths, good speed and an overall immersive presentation that for me captures the mood of this track very well.



Ólafur Arnalds - 00:48/07:29 (modern classical)

This is where I crave more resolution, air and probably a preference for a dynamic driver delivering for the chosen instruments, especially strings and piano. It does still sound very pleasant, but I’m just missing some clarity, air and probably more ‘zing’ in the upper mids. While I can still enjoy this album, the OH700VB wouldn’t be my top choice to reach for. Bass switches best off here to again open it up.



Calibre - Badman (Drum & Bass)

A perfectly suited genre for this set in my experience, the combination of a smooth presentation, speed, and with not too much energy up top allows for drum programming to come off without any harshness. The vocals are central, and not pushed forward or back with good body to the tone. It again has that sense of being atmospheric and highly captivating.



Trentemøller - One Eye Open (indie/vocals/electronic)

Fantastic opening track to the absolutely stunning ‘Fixion’ from 2016. Very obvious influences here to the likes of The Cure, Siouxsie and the Banshees and others from that era in the 1980s - but fair to say a fresh take here. The female vocals are again nicely central, with good body and authentic sounding to my ears. A slowish paced track but with a reasonable amount of instruments but not sounding congested at any point, again very captivating and easy to just get lost in.



Gridlock - Song23 (IDM)

No idea how I got this far without trying some IDM, one of my favourite electronic genres and always fantastic to test the ability to handle detail and complexity. This is a classic from 2003 on the German Hymen label. OH700VB holds up well here, but I would probably like a touch more precision in the complexity, again I guess this is where some additional resolution would help. As per others though, it certainly wouldn’t stop me listening to this album, still a very enjoyable listen.



Conclusion

This is an easy recommendation when asked for a suggestion for a solid ‘fun’ and engaging all-rounder under $1,000, and probably even higher. I’ve had these now for about six weeks and even with other much more expensive sets within reach, I have found myself often grabbing these - as I said at the start, they are just so easy to love, with fantastic comfort, zero fatigue with many hours listening, a great stock cable, and all for $699 - they do fit that ‘generalist’ category for me where they play basically any genre at least very well, but will fall short for some where more resolution and detail is perhaps required.

Craft Ears 'Aurum'

• Driver Configuration: 1x DD, 4x BA, 2x EST
• RRP: €1,395 (available HERE)

Introductions & Caveats

Something abundantly clear in this hobby is how quickly things come and go - the hype train often charges into the station, and quickly the platform is filled with those seeking to jump aboard… we travel a few stops and not unusual then for a set to become forgotten due to a queue of other new sets seeking to grab our attention and more importantly, our money. This is simply the nature of the hobby, and a few IEMs achieve a cult status, remaining popular for much longer, and indeed overall respect in the community. But within all of this sets get overlooked - for whatever reason, just not hitting that hype phase in the community.

Craft Ears reached out to me and asked if I would like to try the Aurum - my initial reaction was a bit confused to be honest - why would a brand be seeking to try an ‘old’ IEM in such a competitive market with countless newer sets that have hit the market since Aurum was introduced in 2020? - I had a read of some reviews and impressions, and discovered mostly positive feedback, but was still a bit reluctant due to being now four years old. Writing reviews, even my amateur musings takes quite a few hours, and finding those hours in a busy working and family life can be tricky, as such I’ve tended to very much limit how many reviews I do per year (although they have ramped up more than I’m comfortable with so far in 2024!). I had a good gut feeling about these though, and thought I’d give them a try… fast forward about four weeks since they landed, and I’m glad I did - but perhaps still a bit unsure as to why Craft Ears wanted a review of this older set, maybe to have a bit of brand awareness in the market for their more recent flagship, the ‘Omnium’?

I would like to thank Craft Ears for the opportunity - Aurum was sent free of charge in exchange for my impressions. As always, all words are my own based on my ears/music/sources… your journey may be very different, but I do my best to convey my experience in a way that can hopefully enlighten the reader as to the broad capabilities of any set.



A bit about me… (if you’ve read my previous reviews, you might just skip this - not much here has changed )

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



About Craft Ears

Craft Ears are a Polish company, founded by Jedrzej Nowicki. All of their products are handmade in Poland and come with a 2-year warranty. That certainly sets them apart from the crowd where most these days are made in the Far East - not a good or bad thing per-se, simply noting the fact!

Aurum Specifications

Drivers: 1x Dynamic Driver, 4x Balanced Armatures, 2x Electrostatic (5-way crossover design)

Frequency Response: 5Hz-40kHz
Impedance: 9,6ohms

Unboxing

A very simple and understated affair with an outer cardboard case that upon opening reveals a robust but somewhat large storage case - while it will certainly protect your investment, and has plenty of space for an additional cable and tips, the size will be prohibitive in terms of a case you can throw in a pocket, unless you’ve massive pockets that is…











Tips include a double-flange style in small, medium and large, and a fairly standard looking selection of S/M/L silicone tips. I can't comment on how good or bad they are as I always use 3rd party tips.



Design & Fit

When I saw the shells, I had a bit of an ‘eek’ moment at first - they reminded me of some sets I’ve had in the past where this type of shell became very uncomfortable, but thankfully I quickly discovered these were fine - in fact I find them very comfortable. I’ve been using my new favourite tips, the Acoustune AEX07 - along with the shape and these tips, there is excellent isolation, pretty much blocking out any external noise. Strangely enough, I cannot for the life of me see a vent anywhere on these, but I do not get any pressure build so there must be one there, and an eyesight issue on my part but I must ask Craft Ears to confirm. There is a flat 2-pin connector and the supplied cable fits into place very securely.



Cable

The supplied cable is silver plated OCC copper and has a modular connector for both 3.5mm and 4.4mm jacks. It is a sturdy cable with reasonable weight and low microphonics. It feels like good quality and overall nicely made.



Listening Impressions

The Hiby RS8 was my chosen DAP for all listening impressions in this review. The R2R has excellent synergy with Aurum, taming the at times higher level of energy up top and smoothing out somewhat, but not always. I have used with other DAPs, but RS8 definitely my top choice. All test tracks are from local FLAC files.



One of the first things that struck me about Aurum was the high-performing technical capability, this honestly surprised me at the price point - an impressively large stage with crystal-clear imaging and layering - not to the detriment of coherency or musicality however, this is an emotive, engaging and somewhat energetic set. The tonality is overall quite nicely balanced, with excellent extension on both ends, clear but full-bodied mids and with a pleasing and accurate sounding timbre.

Bass

The dynamic driver is tuned very nicely, with a more typical sub-bass emphasis over mid-bass - the sub extension has good rumble and sufficiently visceral, while mid-bass has excellent impact and definition. I find the sub-bass in tracks with more of this emphasis highly engaging, and while not overemphasised, it really does grab my attention with the overall quality of presentation.

Mids

There are two BAs at work providing excellent clarity, detail, with enough body and warmth to ensure good musical engagement - I don’t find a bias towards either male or female vocals, both are nicely rendered and positioned in a central and slightly forward location which to my ears sounds true to the recordings. I haven’t heard any congestion with busy tracks, always sufficient speed and space to allow even the busiest of tracks to perform.

Treble

We have another two BAs here along with the addition of 2x ESTs for the highest reaches, a fairly common implementation with multi-driver sets, and for good reason, well implemented ESTs make a massive difference to the higher frequencies, delivering the upper level opposite to well-implemented sub-bass - the key here in my experience is that highly visceral experience, an ear-tickling sensation from the ESTs, in a similar way to the skull rumbling sensation of a great DD in the sub realms. I’m saying all of this as it is indeed applicable to Aurum, and I must say they at times remind me of the legendary Traillii in this regard, I think the treble for the most part is done exceptionally well, arguably a real standout attribute of Aurum. This upper energy also lends the overall tuning towards a slightly more energetic profile, allowing faster-paced genres sufficient energy to really shine.

Technical

The soundstage is large but I would say more in width and depth, the height isn’t massive. The resolution is very good with plenty of micro details evident, but stopping somewhat short of being a technical monster - the resolution and detail is there, but not in a microscopic way. I had a bit of a ‘eureka’ moment at the recent Watercooler European meet-up in Amsterdam, that being the realisation when auditioning an IEM / headphone as to how quickly the emotion hits, and the most obvious measure is my heart rate, a natural physiological response that in my opinion is a very authentic method to determine the musicality and emotive connection to a set - some impress immediately with their technical prowess, but don’t tug at the heart strings, or at least they all do one or the other to varying degrees and it is this balance that I tend to seek when trying any new set… so where does Aurum sit I hear you ask?! - well if something like Traillii sits at 10 on the emotive-scale, I’d probably position Aurum at around 6, and that’s a good score!



Test Tracks

I’m going straight for the jugular here with a somewhat fast and complex track, an early opportunity to test how Aurum responds

Moy - Forest Dungeon

This is taken from the excellent ‘The Phenomenon of Memory’ album, released just this year but sounding quite like some early to mid 90s acid techno / IDM… if this type of genre is your thing, miss this at your peril. Given it’s recent and high quality production, we’ve no issues with upper energy, at least my late 40s ears don’t anyway. The many layers of complexity are rendered with ease, providing a highly engaging and captivating performance on Aurum, really showcasing the beautifully tuned drivers. Everything sounds crisp, pristine, detailed, emotive, and impactful.



Aukai - Agua Azul

I’m mostly looking for timbre here with the various instruments at play - this is the sort of genre I’ll typically choose a resolving DD such as Turii Ti for as I appreciate a ‘delicate’ and precise presentation for instruments like this. Aurum does an excellent job however, a nice airy presentation with a real pinpoint sense of imaging and excellent clarity. Perhaps I’d like a touch more ‘bite’ on the leading edge of strings, but a minor nitpick really.



Trashbat - Tibet

This is taken from the compilation ‘Subtextures’ on the Interchill label, and one of the tracks I used to test various IEMs during a recent ‘’Watercooler EU’ meet up in Amsterdam. I love the variety within the track, and found it really excellent for getting a sense of sub bass, and a measure of emotional engagement. Aurum certainly doesn’t disappoint - as previously noted, the quantity of sub bass on Aurum isn’t massive, but it is strikingly obvious in tracks such as this and has a real visceral sensation to it. Likewise up top with the ESTs, very crisp and captivating - I really do love well implemented ESTs, and Craft Ears have certainly done a fine job here. The mids have a beautifully intoxicating delivery, the occasional vocals sound lush and almost haunting as they flow in and out.



Men I Trust - Tailwhip (album v)

This is a track I’ve used to test many IEMs over the last few years, but not actually in more recent months so when I spotted the album while browsing albums on my DAP, I thought a good time to revisit. I find immediately that the stage size has a relatively intimate presentation, and vocals while central aren’t as forward or full-bodied as they are on a more mid-centric set - still very authentic however, and I like the overall rendering of the complete song - again there is excellent clarity, all instruments are nice and distinct, easy to pick out and indeed enjoy as a whole.



The African Dream - Makin’ a Living

A bit of a classic house track here from the 90s, a funky number and the closing track to the self-titled album ‘The African Dream’. It was reissued on vinyl a few years ago and I immediately snapped up a copy, especially for this track. The higher registers do sound a touch bright, and possibly on a more neutral or brighter source than the RS8 could be a bit of a problem - I would say this is mostly due to being a much older track, with production quality not being up to today’s standards, something I often find with older recordings. Bass and mids sound very nice, the melodies sufficiently lush and captivating, with again a nice visceral sub-bass delivery. Overall it sounds good, but Aurum possibly not my top choice for something like this.



The Cure - All Cats Are Grey

Taken from the excellent ‘Faith’ by The Cure, certainly one of their darker albums and from the earlier part of their career, up there with my favourite albums of theirs. This is going to be another tough test as again being faced with a recording that isn’t up to the level of modern standards. The results here are actually surprisingly good for the most part, as the track is quite slow and not particularly complex, I don’t hear anything harsh up top - the most obvious issue is in the mids where they sound a bit weak and lack body - quite a flat presentation and it does seem mids tend to suffer more in my experience with these older recordings, not a fault or criticism of Aurum. Overall, not a bad listen but I’d choose a warmer/less resolving set for an album like this.



Omni Trio - Silent Age

Drum & Bass (D&B) as always a genre I like to throw at an IEM in a test like this due to the speed and complexity that’s typically associated. While the bass and mids are very nicely represented, I do find energy up top is a bit excessive and find myself turning down the volume to a point where it becomes to the detriment of other frequencies. D&B is often a tough test and usually my measure of upper energy thresholds - to be fair, just tipping into an area of discomfort but enough not to want to listen - which is fine, while Aurum has pretty decent overall balance, it is not a set I would consider to be an all-rounder either, D&B not a genre I will associate with this IEM.



Bluetech - Ringside At The Parthenon

Jumping forward a number of years to a producer I very much associate with high quality production, Bluetech’s albums tend to sound incredibly hi-res with impeccable mastering. While slower paced than the previous D&B track, there is more overall complexity, with intricate drum programming and many layers of synths and accompanying melodies. Again though, touching a bit too close into upper energy levels of discomfort - not quite, but again enough to distract from the overall presentation. I expect to immerse myself in music like this, be captivated by the overall experience and with Aurum is just doesn’t quite cut it.



Carbon Based Lifeforms - Somewhere in Russia

I am a huge fan of ambient music, and have 100s of albums in this genre. This album is up there with some of the best, and a true classic of the genre in my book - especially this utterly beautiful track. Having had a couple of tracks where I was bit less satisfied I guess, I’m back to being completely captivated and totally immersed in this masterpiece - Aurum delivers here with wonderful elegance; a spacious and highly engaging listen from start to finish, putting shivers through me as this track builds. I could happily reach for Aurum anytime in the future when I want to choose ambient music, which means I will likely reach for them a lot.



Comparisons

I don’t have many sets in a competing price segment, so have to choose a few at both lower and higher prices, so arguably unfair in either direction, but it is what it is…

Orivetti OH700VB ($699)

The OH700VB is a very smooth, inoffensive yet highly engaging listen - a noticeable step down in terms of technical performance vs Aurum however, with far less obvious imaging or layering for example. With the right recordings, the Aurum ESTs really do shine too and a big step up compared to the BAs at work in the OH700VB - that said, the OH700VB is an incredibly engaging listen and I’ve yet to find any genre that doesn’t just ‘work’... more thoughts to come on this IEM as it's my next review.

Nostalgia Audio Camelot ($2,699)

Aurum sounds more energetic and definitely extends a touch further on both ends, especially up top. Camelot has a more refined and ‘safe’ sound overall, and steps a bit forward from a technical perspective where detail retrieval, stage size have a noticeable edge. I prefer the bass execution on Camelot also, but I would expect that with the 2x DDs at work here, one for both sub and mid-bass.



Conclusion

The old adage ‘age is only a number’ does indeed ring true in the case of Aurum - a four-year-old set in this hobby almost feels like something that should have retired at least a year ago, but that would be a mistake, and for me Aurum represents good evidence that we can easily dismiss sets that aren’t the latest and greatest from the most cherished brands. Aurum has been a bit of a lesson for me to really underline the fast-paced, at times fleeting nature of this hobby, always rushing to find the next best set, while many get passed over and forgotten. The asking price of around €1,400 gets you a lot of IEM, and arguably a bit of a ‘bargain’ in terms of the performance on offer quite a few hundred euro south of €2k. As noted however, the upper energy can be at times excessive and caution definitely advised for some genres where there already more energy and ‘activity’ this zone - this for me slots Aurum more into a somewhat specialist bracket rather than an all-rounder, and I’ve found for the most part I prefer more modern, slower paced recordings where they really excel and compete well still in 2024.

I noted at the start of this review how I was a bit curious as to why Craft Ears wanted me to try a four year old set, well I guess the answer is to potentially demonstrate how it still stands up today, albeit with specific genres, but that indeed is the case with many ‘new’ and more expensive sets on the market in 2024.

Simgot EA1000 - $219


Pictured above with the Simgot LC7 cable, sold separately and features modular jacks with 3.5mm and 4.4mm

Introduction & Caveats etc…

Any of you that know me will know I have quite a thing for single dynamic drivers, usually my preference in this hobby and I’ve explored a large number at this point. I’ve typically gone for mid to higher end sets and most recently reviewed the wonderful DITA Perpetua which is certainly at that higher end considering the $3K price tag.

Simgot have had a lot of praise in the community over the last number of months, they appear to have really caught the attention of audiophiles with a selection of products from their range that have garnered huge praise for the price to performance ratio - most notably it would seem the EA1000, the subject of this review.

When Simgot reached out to ask if I would like to try the EA1000 I was very happy to accept, and would like to thank Fia from Simgot for the opportunity - as always, all words are my own without any influence, payments, etc etc etc…

The EA1000 retails for $219 and available from many different sellers to include Amazon, Linsoul, Elise Audio to name a few.

A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



EA1000 Specifications

• Drivers: 10mm dual-magnetic-circuit & dual-cavity structure dynamic
• Cable: High Purity Silver-Plated OFC Litz Structure
• Connector Type: Detachable 0.78mm 2Pin
• Jack: 3.5mm

Simgot it seems have some interesting technology at play here in the EA1000, with the use of their patented ‘SDPGD’ driver - that being a sputtered purple gold diaphragm & ‘DMDC' dual- magnetic dual-cavity dynamic. This driver is described by Simgot as “powerful effective magnetic flux makes the sound driver have more amazing performance, which not only greatly improves the dynamic range and transient capability of the earphones, but also provides a wider bandwidth range” - they expand on this to say “the “Fermat” EA1000 also enhances the control of high frequency, which gives the “Fermat” EA1000 a stunning dynamic shock and presence. As well as the high frequency characteristics of rich abundance and smoothness, rich air sense and ductility, the exploration of the upper limit of the dynamic is a step closer.” - in addition to this driver performance, there is a 6mm passive radiator which enhances the low-frequency, something I experienced previously with the much more expensive MA Eclipse ($1,199 or so...) which likewise had very distinct sub bass in particular, quite like that of a sub-woofer in a 2.1 setup. Anyway, leaving all the tech aside, the EA1000 does sound like more than a single driver.



Unboxing

I’m going to keep this pretty brief as there are numerous reviews out there already, but I still like to show a selection of shots as to what you get.











The accessories are somewhat basic but you get what you need:

• Storage case
• Selection of tips
• Interchangeable nozzle filters

Stock Cable

Unfortunately only a 3.5mm stock cable which I think is a shame even at the relatively low price, it has become almost the norm now to have 4.4mm and ideally options in the box to switch to your preference. It is however a nice lookling and well made cable.



Case

The case is a fairly typical style, which is practical for storage and has a nice extra feature of slots to store modular plugs should you purchase the likes of the LC7 from Simgot which has both 3.5mm and 4.4mm (and is the cable I've been using since the EA1000 arrived in early January).





I like also the net at the bottom, handy for storing spare tips or the tray with the various tuning adaptors.



Design & Fit



Long before these ever landed, I had always thought they looked eye-catching from pictures I had seen - they certainly didn’t disappoint when they arrived, looking and feeling every bit as good or even better. The shells are of a robust metal construction and while there is a bit of weight to them, this is not to the detriment of fit in my experience, i.e. they do not fall out of my ears when moving about which can be a risk with shells that have a bit more weight to them. I expect some micro scratches to appear on the inner sides of the shells due to the metal finish over time but nothing to report as yet - the outer shells have a nice patterned finish and as such I assume these should allow for a reasonable level of protection from scratches.

I find the shells sit comfortably in my ears, and provide a reasonable level of isolation - this will of course depend also on your choice of tips, in my case I’ve been using the Acoustune AEX07 in XL, now a go-to set of tips for a lot of my IEMs. I have used frequently out walking and around traffic and while they don’t block everything, it is pretty decent.

They are vented, so no issues with any pressure build.

Overall I find them very comfortable and could easily listen for extended sessions.

Listening Impressions

I’ve tried the EA1000 with a selection of DAPs to include the Hiby RS8, LPGT Ti, and the Sony ZX300 out and about. Just to note also, Simgot sent me the LC7 4.4mm cable and all of my listening has been with this rather than the supplied 3.5mm cable - the LC7 is sold separately for $79 (I do think the stock cable should have a modular option too).

The EA1000 to my ears is an IEM that is easy to enjoy or even love, I can’t imagine anyone actually disliking - a nicely balanced signature that is sufficiently resolving to produce good details from micro to macro, with a smooth and musical tonality - I haven’t experienced any nasty peaks in upper mids, nor any sibilance or harsh treble. Important to note, the vast majority of my listening has been so far with the the silver tube/red ring which I guess is the ‘standard’ or default option as the EA1000 ships with these attached - a harman 2019 tuning target which is quite universally pleasing. I hope to test the others soon and either include or update this review accordingly.



Lows

I can certainly hear and feel sub bass, the passive radiator doing a wonderful job of providing a tactile, visceral low-end presentation to these deeper levels. While the quantity isn’t massive, it is certainly more than adequate and of high-quality, plus nicely balanced in my opinion with the rest of the FR through mids to highs - nothing overpowering, nor I am left wanting with tracks that require good presence here. As noted earlier, it reminds me somewhat but to a lesser degree of how the passive radiator in the Melodic Artification ‘Eclipse’ presented sub bass with a feeling of being like a separate sub-woofer like in a 2.1 speaker setup. Mid bass has good solid impact for kick drums with a realistic sensation of vibration, likewise bass guitars have nice timbre and a good sense of reverberation.

Mids

Really excellent balance between clarity and warmth here, with ample space for vocals and instruments - the resolution providing plenty of detail, well defined and a great sense of instrument positioning in a wide field. The note weight is slightly on the thinner side, but has sufficient body for the lower mid registers regardless and portrays both male and female vocals very well. The all important ‘emotive’ connection is certainly present, and I find synths, strings, brass etc all highly engaging, realistic and captivating. Upper mids might creep into an area of sensitivity for some, I’ve found at times as instruments step up to this area that they just stay within my personal comfort zone - I think this is probably an area where tuning can be tricky to balance, as it seems this part of the FR needs a bit of a lift to provide an accurate account of vocals and instruments in this zone, and indeed what is then portrayed in a sufficiently captivating way. The

Highs

Treble is balanced seamlessly with the the mid and low frequency ranges, extending smoothly from the upper mid-range and offering well-defined clarity and detail, without being too bright, harsh or sibilant. The airy extension creates a sense of additional space in terms of soundstage size. It’s easy to zone in on intricate nuances of detail with hi-hats, the furthest extremities of violin strings, cymbal crashes etc - and indeed with more layered and detailed examples of say ambient music, where there is a lot of focus on field recordings and the more minute level of detail.

Technical

As noted, the EA1000 is a nicely resolving set and produces admirable levels of detail retrieval across a very respectable sized stage, especially for the asking price. Imaging is portrayed within a stereo field, with good centrally located position for vocals or instruments in this region, which sound accurately represented. There is a good sense of space between instruments, without any sense of congestion for busier or more complex music. While not clinical, it is very easy to perceive individual elements of the music in the mix, yet of course still coherent. There is a good sense of depth in the stage, with layering creating a sense of proximity to various elements of the music being closer or further away, cymbals and hi-hats for example often reach out beyond my head left and right.



Test Tracks

Vince Clarke - Red Planet

A highlight album of 2023 for me, and one I have listened to many times over the last few months. This track actually a great example of one that sounds like it’s title, it has an otherworldly feel to it where it builds to a dramatic climax, creating a sense of wandering the red planet’s vast landscape - it is very emotionally captivating and the EA1000 does an excellent job of providing that sense of the vastness of that distant world of Mars, synths extend out to great distance and the more climatic moments sound dramatic but not harsh or congested, also demonstrating the dynamic capability of the set with fast transition from quiet to busier and ultimately louder moments.



Omni Trio - Sleeper

And now for something completely different - jumping straight to one of my favourite test genres for any IEM, some quality D&B (Drum & Bass) from the legendary Omni Trio - a huge favourite for me when out walking, I love the pace and complexity of the music, along with typically sweeping and emotive synths, deep cavernous sub bass, and fast-paced percussion. This sounds wonderful - the intermittent bass line that emerges every so often really drawing attention to the passive radiator at work, where it has that sub-woofer sensation. As the track progresses, and the drumming becomes even more complex, the EA1000 has no difficulty keeping up with the pace and driving every bit of detail - likewise ensuring the big sweeping synths swirl out to the furthest reaches of the stage, creating a highly immersive listening experience.

Side note: I really wish Omni Trio would reissue all back catalogue albiums to Bandcamp, I have their albums on CD but could do with better digital remasters!



Portico Quartet - Beyond Dialogue

A really beautiful blend of jazz and electronics from the excellent Portico Quartet, from the excellent album ‘Art in the Age of Automation’. I’m again immediately captivated by the sense of space, and overall clarity, positioning and dynamic range from the loudest to quietest moments. Instruments sound accurately portrayed, and again highly emotive and engaging. I have to point out again as I keep perceiving this - I love how the EA1000 presents the likes of hi-hats in a smooth, coherent way that pushes them out in a visceral way to the furthest edge of the stage - creating a wide stereo sound field. Bass doesn’t dig as deep as the previous track, but still has a sense of a sub-woofer presentation, albeit more subdued by the nature of the track.



Violeta Vicci - Autovia

The self-titled track to the brilliant ‘Autoviva’ from 2019. This again does an excellent job of demonstrating how the EA1000 copes with a ‘large’ sounding piece of music, one that needs to have the space to allows the synths, strings, and other electronic elements to flourish - again handling the dynamic range, the multiple layers, and balance across the FR to accurately represent what is ultimately a complex, subdued, yet dramatic and beautiful piece of music.



Abfahrt Hinwil - Radiowellen

This tracks features on the classic 'Links Berge Rechts Seen' album which was originally released on the legendary Toytronic label in 2002, but lovingly reissued by the also arguably now legendary Lapsus Records from Spain, they've been doing a sublime job of unearthing IDM classics from the past few decades and presenting them to the world again on vinyl. While not overly complex, there are multiple layers and a lot of intricate detail - the percussion has more of a mid bass focus with an offbeat kick-drum which presents wonderfully in the centre of the mix - the many layers of synths present with a beautiful melodic captivating tonality. This is another track I've heard countless times over the years since I originally picked up this album on CD in the early 00s, EA1000 doing a mighty fine job playing it to me again.



Autechre - VLetrmx

I'm probably being a bit indulgent here as I've started to think of tracks I've known and loved for many years that fit in the IDM theme, Autechre of course for those of you who know them are unquestionable legends of the genre, and on the scene now since the early 90s. This track is actually more ambient in reality as it is completely beatless, but instead builds on layers and layers of brooding, captivating synths up to an incredibly emotional climatic waves - this build in my experience requires that the set can maintain a composure as the 'drama' continues to unfold, taking care not to sound harsh or congested. Yet again, EA1000 does not disappoint, and I have an overwhelming desire to kick back and completely immerse myself in this utterly spectacular piece of music.



Still Corners - The Trip

Another album I've loved for many years, and this opening track a real favourite. It has a wonderful sense of melancholy, and I adore both the vocals and instrumental arrangement - the opening guitar has such a distinct and gripping intensity. Vocals sound accurate with good body and higher registers are free of sibilance - positioned perfectly centre and a touch forward, with guitars positioned to the left and right, percussion a touch behind and with good positioning with cymbals stretching out giving a great sense of space. A busy enough song, beautifully rendered on EA1000.



Comparisons

OD200 - more of a relaxed presentation and less resolving with a smaller stage, yet I’d class this as all part of the charm of the OD200, it’s the type of set that you can listen to for hours without fatigue. While they both have a nice emotive warmth, EA1000 sounds immediately more spacious with musical nuances far more apparent. OD200 focuses more on mid bass than sub, EA1000 extends deeper with that sub-woofer like experience, where the overall smooth tuning of the OD200 with that mid bass focus tends to result in an overall more intimate presentation.

Project M - at $329, this latest from Dita has created a lot of noise in the community in terms of what it offers from an overall package perspective for a relatively low price - having owned and recently reviewed a set, I can fully agree with the general community feedback so far. What you are getting here is a more neutral sounding set that focuses on clarity which when I switch from one to the other is immediately apparent, EA1000 strikes me as more emotive but steps back on clarity and detail. These offer different flavours really and I could easily see a case for owning both where you might want a more neutral reference style tuning. While EA1000 is a comfortable set to wear, Project M takes the prize here as possibly the most comfortable IEM I’ve ever worn, likewise the wonderfully ergonomic cable is a massive feat in itself. In addition to the more neutral tonality, Project M is also brighter up top, presumably due to the BAs handling the highest frequencies.

TS316 - a step up here in terms of resolution, with an immediately noticeable increase to details and soundstage, the depth of sub bass extension apparent too, and overall sounds more energetic due to a brighter tonality. The TS316 is an easy recommendation at $499, but no more so as the EA1000 at $219, both offering significant value in terms of their performance vs higher priced sets. While EA1000 sounds instantly enjoyable and captivating, TS316 jumps up to being instantly impressive and arguably one of the most competent single dynamic drivers in the sub $1K category.

Conclusion

It’s genuinely hard to say anything negative about this set - as noted in my sound impressions earlier, it’s an IEM that is just very easy to enjoy and in my experience works with any genre I care to reach for. Of course some will want more resolution, or a more exciting music portrayal - we all have our specific requirements in this hobby, but I do think safe to say an easy recommendation for anyone looking for a musical set which has admirable technical capability and offers an all-round ‘safe’ tuning. There are of course 'improvements' in various elements as you step up to sets at far higher price tags, but I would expect that, while at the same time taking the very real notion of diminishing returns into consideration. This is my first from Simgot and definitely exceeded expectations, I can fully understand why these have been so highly praised in the community for many months now, certainly not a 'fly by night' set with fleeting hype, these are in my opinion a real benchmark set in the price segement and above.

Introductions & Caveats

I first heard mention of the Project M following it’s debut at the Fujiya Avic Headphone festival in Tokyo back in October 2023. DITA did a great job of launching Project M and creating a bit of buzz in the community as those that heard it seemed to overwhelmingly share huge enthusiasm and excitement - both from an appearance and performance perspective, and that led to brief wonderment around the planned RRP - folks seemed to feel it must be somewhere north of $1,000 given both what they had experienced and indeed DITA’s usual price points that hit a more premium segment of the market, especially their $3k single dynamic driver ‘Perpetua’ - but yet there were also rumblings to suggest a much lower price, and indeed it soon became evident that we were looking at an offering not only below $1k, but tapping into a much more aggressive price point at $319. At this stage I had never tried any of DITA’s products but was certainly planning to and ultimately did purchase the Perpetua from MusicTeck later in 2023.

Anyway, I reached out to DITA at the time to further investigate and they kindly offered to send me a unit to review - with a caveat however, that being to hold back publishing my review until later in February due to such huge demand - a nice problem for any brand, but a headache none-the-less as of course you want to drive sales and satisfy market demand when you launch a product to great fanfare… important to strike a balance between the inevitable excitement that occurs around a product receiving critical acclaim, which a lack of immediate availability then creating even more desire given our human tendency to wants things we can’t have even more - but if it takes too long, we might move on, or indeed spend our cash on something else… we can be a fickle audio community and easily tempted by new shiny toys on an almost daily basis.

As always, my reviews are of a non-professional nature, and all thoughts / impressions entirely my own and without any influence from the brand. My passion for music and electronic are brought together here on Head-Fi and I always enjoy testing new sets and sharing my experiences.

Project M retails for $325 and is available from DITA HERE



A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.



About DITA (from the DITA website)

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.



Project M Specifications

DITA provided information in a reviewers pack around the design of Project M to include the driver specifications and configuration. Rather than attempt to rewrite this text, I am going to be lazy and paste below verbatim… DITA write it better than I can anyway! There is a reasonable amount of text here so for the sake of space I’m going to wrap in a spoiler.


Unboxing
Project M arrives in a relatively small package, with an outer sleeve and inner box. The branding while subtle still feels premium and to the point.





All contents:

1. Case
2. Cable with 4.4mm jack affixed
3. 3.5mm jack
4. Final E-Tips in five different sizes (these glow in the dark!)
5. And of course the IEMs themselves...

Design & Fit

I have owned many, many, many IEMs in the last few years and there is no doubt about it, the Project M rank up there with the most beautiful and most comfortable I’ve ever had the pleasure of inserting into my ears. There are no rogue sharp edges or weird angles that create discomfort or even worse actually cause pain - the shells are light, smooth, and fit beautifully in my ears - now of course I get our ears are all shaped differently, but my sense is these will work for the vast majority of us. The snug fit also occupies a reasonable amount of space, as such creating good isolation.



Cable

I know many love to cable roll, and will often not even attempt to use the stock cable. In my opinion that would be a missed opportunity with Project M, as the stock cable is a perfect match for the IEMs - light, ergonomic, and wonderfully aesthetic. The entire package feels premium, yet incredibly light.



The modular system is secure and easy to change from either the 3.5mm or 4.4mm jacks.





The QDC connection is an potentially unusual choice, as not one you see that often with IEMs - I would love to see more brands use this, as it feels incredibly secure and robust, a lot more so than the usual standard 2-pin or MMCX.



Listening Impressions

One of the first things that struck me about Project M when I first saw online and indeed when they landed in my hands was the beautiful clear shells, allowing you see the inner workings of the set in great detail - this theme continues into the listening experience as the Project M is a well balanced set that goes for an overall clear, transparent, detailed tonality that leans a touch bright. There is no sense of colouration which results in an overall neutral and detailed listening experience. What I love about more neutral sets like this is that they represent the music as it is - an emotional track will have emotion, an aggressive track will be aggressive, a funky track will be eh, funky - you get my drift!



Project M have clocked up many hours with me over the last almost two months - and indeed many kilometres (or miles depending on your chosen metric…), where they’ve been a morning companion while walking my dog, travelled with me in and out of the office during my work commute, and boarded flights to both London and Seville. I really feel I’ve got to know a set when they’ve journeyed with me in several different capacities, and I can then comfortably and hopefully competently share my experience of a set.



From a source perspective, the theme of being well-travelled continues: whether coupled with my trusty Sony ZX300 or Aune M1p for out and about, or plugged into RS8, LPGT or my desktop setup, the Project M have been well tested and while of course they vary in terms of performance, I have not been left wanting with any of these - in fact I would say the most used combination as actually been the lowest cost, that being the M1p.



Bass

Sub bass has a pleasing rumble and appreciates a bit of power from the source to really get it motoring - I’ve found with Project M that you can really push with more power and they just keep delivering overall, definitely a set that likes you to ‘pump up the volume’… however even with your foot to the floor, I still wouldn’t describe as a ‘bass head’ set but absolutely adequate for most people I’ve no doubt. The mid bass takes a small step back versus sub bass, but has a decent amount of heft and density - a kick drum is often my main measure and while listening to Project M over the last few weeks, I have certainly noted an authoritative impact, albeit on the lighter side as I say versus more bass-focused sets.

Mids

The mids are on the thinner side and with plenty of detail, speed, and ample transparency. For those of you looking for a more full-bodied and lush mid-section, the Project M won’t be an ideal choice. In spite of the thinner mids however, I still find an emotive engagement factor, just not at the level of sets where this is more of a focus - the Project M goes for clarity, detail, speed mostly - but still delivered with a sense of smoothness.

Treble

The BAs are quite evident up top with their sole focus delivering on the highest extremities of treble providing an airy, clear and detailed presentation - given that the dynamic driver is doing all the other work, it is evident to my ears how DITA chose to complement this driver with BAs to stretch beyond the limitations of a single driver. I have heard mention in some impressions of sibilance which while I’ve not personally encountered, there can be a slight ‘thinness’ possibly in the upper end of the DDs FR and on into the BAs. The BA driver also helps to extend the overall stage, stretching out to a wider stereo field.

Technical

There is a trademark single DD stereo-field presentation, with excellent central positioning that emanates outwards left and right. The clear and resolving tonality leads to excellent detail retrieval from both macro and micro perspective, revealing the most subtle nuances in music. Imaging is wonderfully precise, allowing for easy pinpointing of instruments and vocals within the stereo presentation. Even with this high level of resolution and detail, I wouldn’t consider the tuning to be sterile or clinical - there is sufficient musicality to rescue from that potential burden.



Test Tracks

Before I jump into this, I must note I’ve had zero ‘bad’ experience with Project M in terms of genres I’ve listened to over the last couple of months. This is a spectacular all-rounder, a set that can truly perform with anything from the most chilled ambient, to fast and complex electronica - with indeed all in-between.

Andrew Tasselmyer - Illusions Become Form

Taken from the recently released and beautiful album ‘Where Substance Meets Emptiness’. This track showcases the competent capability of Project M’s tuning: the entire FR is well represented in a slow-paced but at times complex yet subtle production. The sense of clarity allows for a wonderfully detailed, airy, spacious presentation that is incredibly captivating and I feel demonstrates my earlier point around how Project M will present as the music is intended - in this case highly emotive.



Innertales - Odyssee

This features on the excellent ‘Planet Love Volume 2’ compilation from the wonderful Amsterdam based ‘Safe Trip’ label. As a massive fan of early 90s electronic music, this one really hits a sweet spot for me. As an older recording there is a risk of sounding harsh on more neutral or bright leaning sets, but thankfully Project M delivers very well here with a well-rounded presentation that isn’t harsh or congested and has sufficient speed to deal with the faster pace. The kick drums have good impact albeit with a slightly softer edge. Synths are emotive and nicely layered in the mix, delivering again an engaging and captivating experience.



Pachangaboys - Time

This is a timeless classic and absolutely epic - a hypnotic track that builds and unfolds over its >15 minute run time, but as the lyrics suggest, we lose track of time - 15 minutes go by incredibly fast. Project M again delivers here, effortlessly presenting every little detail, and allowing the emotion spill through in buckets. The kick drum has better definition compared to the previous track, this due to being a more modern production, and the occasional ‘Lost Track of Time’ lyrics that drop now and again, are bang on the middle and a touch forward which adds even more the captivating nature of the track and how it’s revealed with Project M. This track never fails to get my heart racing, and I’m delighted with the performance here - 10/10.



Slowdive - Star Roving

One of my biggest regrets of 2023 was allowing Slowdive play in Dublin and not buying tickets on time - my son reminded me few times, and each time I was busy doing something else and thought I must get around to it - when I eventually did, it was too late and they were sold out. This self-titled comeback album from 2017, was the band’s first studio album in 22 years and for me one of the best albums of the 21st century - a phenomenal come-back after such a long hiatus. This is a fast-paced, and busy track that poses a risk in some sets of congestion or a lack of instrument distinction. While I’ve definitely heard better on considerably more expensive sets, there is absolutely nothing wrong with what I’m hearing here - vocals, guitars, drums all well represented with a lively and engaging presentation - the climatic moments never creating any challenge, with nothing sounding harsh or strained. Side note: I’m keeping a more watchful eye on gigs this year!



The Dead Texan - La Ballade d'Alain Georges

The Dead Texan are made up of Adam Wiltzie from Stars of the Lid and Christina Vantzou. Pulling back here significantly on pace and complexity, to instead test more focused timbre and atmosphere with a beautiful ambient/modern classical piece from the Dead Texan self-titled album. Piano and strings are wonderfully represented here with beautiful hair-raising realism. The stereo presentation sounds intimate, immersive, yet still atmospheric, especially those peak moments where the strings soar to the highest elevations.



Pye Corner Audio - Warmth of the Sun

The closing track and probably my favourite from the brilliant ‘Let’s Emerge’ from 2022. This features Andy Bell of Ride and probably more famously, Oasis - the input here however more the latter, i.e. a clear shoegaze influence evident by the dreamy guitar pedal work. Yet again, I hear this as I expect to with nothing added or subtracted, a highly capable rendition.



Agnes Obel - Aventine

Agnes features a lot in reviews, and for good reason - not only do we get a beautiful voice, but wonderful instrumental accompaniment - and this one of my favourite tracks from this stunning album. Agnes’s voice is a touch forward, centred with the expected vibrancy and hauntingly captivating. Instruments dance playfully in support, swinging from the upper to lower reaches with ease.


Eschaton - Gateway

Saving possibly the most difficult till last, and the genre in general always an interesting challenge or test for any IEM - drum & bass is defined by the lowest reaches of sub bass, the speed and complexity of percussion, and often emotive synths. The drum programming here is delivered here without congestion, and the pace easily managed - I can think of sets that offer a more ‘snappy’ and precise delivery, the now legendary IE900 from Sennheiser springs immediately to mind, but that’s about 5x the price and well known for its ability to perform in this regard - the significantly cheaper Project M does an excellent job in comparison.



Comparisons

Final A5000 is the most obvious set I can think of in my collection to compare, and one I often choose for the same listening use-cases. While they share a similar neutral tuning, Project M steps forward considerably from a technical perspective with a larger soundstage and more precise imaging and layering. The upper energy is more obvious also with Project M, aiding that stage extension and detail. A5000 sounds more congested and ‘smaller’ in comparison but again with certainly similar tuning, almost a baby sibling to the M.

Next up is the recently arrived ‘Aurum’ from Craft Ears - potentially an unfair fight at about 3x the price, but I’ve said M can compete with higher-end sets, so it would be unfair of me not to put it to the test. I’ve only had Aurum for one day, so I haven’t really had time to properly assess but for the purpose of this review and the A/B testing of each set, the price difference to my ears is noticeable, especially from a technical standpoint, and indeed a more emotive/coloured delivery with Aurum. A massive strength of Aurum is the treble, delivered with a wonderful finesse by way of the ESTs - there is a more more noticeable ‘zing’ up top, but also well controlled and has a very captivating ethereal sensation. The mids are also more full-bodied and lush with Aurum, this driving an enhanced sense of emotion. Bass feels more controlled, and snappy, with better definition on mid bass in particular. Does it sound ‘worth’ 3x the price? - hard to say at this early stage, but Project M certainly puts up a good fight, and I’m looking forward to revisiting both when I put pen to paper for my Aurum review in a few weeks - at which point I’ll have become a lot more familiar.



Conclusion

This is an easy 5-star review, absolutely no question about it, and if I was a betting man, I would happily throw quite a few $$$s on Project M becoming not only a highly desirable set in 2024, but one that retains a well-deserved badge of a ‘classic’ for years to come. I’ve no idea as to the R&D that went into this set, but I’d be surprised if it didn’t take a significant amount of cost and time to arrive at the finished product - this is not a quickly dreamt up set that gets produced and fired out into the market, it is clearly a labour of love from a brand that is passionate about what they do, and takes very obvious pride in the products that ultimately end up in their customer hands. Thank you to DITA for trusting in me with an early release of this set, and providing me the opportunity to evaluate and share my thoughts.

Dita Audio Perpetua - Single Dynamic Driver: $2,999



Preamble

When I was a young, innocent, and wet-behind-the-ear Head-Fi member waaaaaay back in late 2020 (tongue in cheek, I know it's not that long ago), I recall seeing mention of a collaboration between Final Audio and Dita Audio - the 'SHICHIKU.KANGEN' - I was intrigued by the huge enthusiasm from members with more tenure, and it was clear that the notion of what were obviously two incredibly well respected brands coming together could only mean an interesting outcome. That planted the initial seed of interest in both brands, and while I have explored Final Audio's more financially accessible products over the years (A8000 is an itch I have to scratch at some point...), Dita has remained a bit of a desirable mystery to me up until recently. I have an obsession for single DDs, and been through quite a few over the last few years - some of which have remained as staples in my collection, and what I would now consider as classics - IE900, FW10K, Turii Ti to name three. Perpetua has been on my radar pretty much since it was first launched, and I am delighted to now have in my collection. It has been with me for about five weeks now, in which time I've become sufficiently familiar to put fingers to keyboard...



Disclaimer

The Perpetua was provided to me at a discount from @MusicTeck in exchange for a review, and without any oversight from Dita or Musicteck. All of my thoughts expressed in this review are absolutely my own, and set out to the best of my ability. As always, how the music is ultimately perceived in our brains has several factors to consider, many of which are completely unique to us, as such the end result can differ significantly - that said, the broad tuning of any set will have various attributes that are broadly applicable and the purpose of any review is to provide the reader with insights as to the general signature, strengths, weaknesses etc. The Perpetua is available at the time of writing from Musicteck HERE

A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking 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 all 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), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.

The Dita Audio 'Perpetua' are available from Musicteck and at the time of writing, priced at $2,999 - HERE

Who Are Dita Audio? - Taken from the Dita website:

DITA Audio is a Singaporean company that builds products embodying a quest for the sublime, based off the premise that a well-crafted product is an experience in itself.

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.



Specifications - a lof of information, see the spoiler if you care to read...


Unboxing & Contents

I am an absolute sucker for a good unboxing, and over the last few years I have had my fair share of wonderful unboxing experiences, and of course quite a few mediocre. This review interestingly is my 30th and I actually like that for a milestone number I can say without question, the Perpetua takes the prize for the most spectacular unboxing I have ever encountered. As with anything, some have zero interest in the unboxing, and just want to get straight to the prize - I actually have a bit of ritual now where I will take my time, making a coffee / tea / beer depending on the time of day to enhance the experience.

Perpetua arrives in a white outer cardboard box where you tear off a perforated strip to unveil the inner 'actual' box. This had my heart racing! Oh and I don't still have Christmas decorations up... Perpetua landed during the festive season!





The sight of the bands that hold the top flap in place certainly keep the heart rate going, an immediately lavish looking and feeling experience - it is abundantly clear at this point that you have a premium product in front of you, with absolutely no expense spared - while Perpetua costs a lot of money, you can actually see, feel, and ultimately hear where your hard-earned cash has gone - all too often IEMs can look and feel cheap, while still costing several thousand - that is certainly not the case with Perpetua.





The top flap opens up to reveal the contents...





Everything laid out - to include a variety of branded stamps and other bit and pieces - none of which are of course necessary, but they add to the overall charm and give a celebratory feeling to what seems an absolute labour of love from Dita to mark their 10th anniversary.



The metal 'puck' case is an interesting design where you pull up the button which seems to release pressure and allow the top to ease away from the bottom. Likewise to close, you ease the top down and once in position, push down the top button again to seal. I find this can at times not work - it seems to be if the cable isn't sufficiently coiled and part maybe sticking up. It is a heavy and rather large case, and certainly not ideal if your intention is to bring out and about with you, good news here however is that Dita has you covered with the additional leather case which we will see next.







Design & Fit

The shells are of the absolute highest quality craftsmanship and genuinely a beautiful sight to behold. They are made of PVD glass at the top and bottom, with titanium inserts sat in between. PVD glass is known for durability, and apparently four times harder than chrome (thanks Google!) - even knowing that, I still feel the need to baby them and always very careful in handling and storing when not in use - and of course keeping a cloth close by to ensure they are always glistening.

They are a heavy enough IEM however, and this coupled with a somewhat stumpy nozzle can prove challenging for some ears, and I know of a few people who have sadly failed the test. I have had issues with shells like this and especially with my right ear which has a slightly larger opening - as such I always use larger tips and ideally of a firmer material. I recently purchased the XL version of Acoustune AEX07 and these have been absolutely perfect for me, ensuring a great fit and seal, allowing excellent comfort for longer sessions - which Perpetua can easily draw you into.



Cable

The cable continues the theme of beauty, opulence, and splendour. It feels incredibly well built, and has a real luxurious sensation in your hands. This is not an IEM where it feels like the brand has just chucked in any old cable - Dita packaged Perpetua with a cable that as much as the IEM deserves recognition for it's flagship, premium status. There is indeed an optional upgrade 'CELESTE' cable for a price almost the same as the Perpetua itself, setting you back a cool $2,799 if you feel the need.
While the cable is stunning looking and feeling, it does have some slight practicality considerations to bear in mind. It is somewhat unwieldy due to the thickness and weight, making it a bit tricky to stay in a specific position, and I would not see it as being suited to out walking or generally out and about portability - absolutely fine however moving about around the house in my experience, but the Y-splitter does have a bit of weight to it and can bounce about a bit.













Listening Impressions

I have a vision of sitting back in a chair like in the below picture, brandy in hand and Perpetua in my ears - listening to maybe some relaxing jazz or sultry female vocals. They conjure up this type of sensation for me, a feeling of sheer relaxation and full-on musical immersion in the most comfortable imaginable surroundings.
Perpetua is a 'smooth operator' - lush, captivating, big, bold and immersive tuning. It can suck you into extended listening sessions, the longer you listen, the more captivated you are by it's charm. I had some initial reservations when they first arrived in late December - as noted in the cons, there were a couple of scenarios where I heard a shrill peak in what I think was around the lower treble area - I specifically called out that this was VERY occasional, and I have actually not since encountered - possibly as I’m quite specific about the genres I’m choosing, but delighted to have not run into this again as those early scenarios did have me nervous about the longevity of Perpetua in my collection.



Anyway, going back to my leather chair and brandy, possibly a Cuban cigar lit up now too - Perpetua coincidentally sounds quite like a new set of speakers I purchased for my 2-channel system recently, the Wharfedale Linton Heritage - they share an analogue type of sound that is very reminiscent of 3-way speakers in the 80s and 90s, and probably even before that again. The key attributes being an overarching smoothness, with rich, full-bodied and lush mids that sit above a robust low-end, and below a crisp and subtle treble.

Perpetua is more about macro than micro, the smoothness means that the tiniest of details take a bit of step back - we absolutely do not go for an analytical listening experience, Perpetua is all about the music. But again, like my Wharfedale Lintons - the detail is there, the nuances can reveal themselves should you choose to focus but they don’t jump out at you - if listening to say female vocals with acoustic guitars and soft percussion, Perpetua presents the vocals in a rich, vibrant way, likewise the strumming of guitar where it sounds full-bodied and visceral, while percussion has an authentic and airy sensation, really showing off the sense of a wide stereo field.



Take an older album like ‘On The Beach’ by Neil Young and I again feel like I’m listening to it back on my 1990s 2-channel system, or indeed now again with my (precious) Lintons. Perpetua is the single most analogue-like listening experience I have had with any IEM… if I close my eyes and kick back, I could be easily fooled to think I have an LP spinning on my turntable, rather than a CD spinning in a tray. I’m listening right now to the aforementioned ‘On The Beach’ and I have to say it’s incredibly hard to keep going with this review - the temptation to grab a beer (or brandy, not sure I’ve ever had one actually…) and just chill out - I think I will have to buy that chair. Honestly, my heart is pounding, and hairs standing up on my arms while listening to Neils voice, the gentle strumming of the electric guitar, the visceral bass and playful drumming of the brilliant ‘Vampire Blues’.



The low frequency department of Perpetua is again like that 3-channel speaker, it sounds like a large woofer with a deep and visceral full-bodied presentation. It is of the slightly slower and softer variety, allowing notes to linger a touch which again provides that smooth and captivating sensation. Mid bass doesn’t have a huge thud or impact again due to being a touch softer and this will benefit some genres more than others, a bit of a trade off I guess - for example, the lower registers of male vocals benefit massively here, likewise bass guitar strumming - on the flipside, those seeking a massive slam for say kick drums in genres like techno might feel slightly shortchanged… but that’s not what Perpetua is about - if techno is your thing, buy the IE900!

From a midrange perspective, this is about as good as you can get. We continue the theme of lush, vibrant, smooth, visceral, full-bodied and highly captivating. Even with those attributes, there is still sufficient clarity but we are not in that realm of super-sharp or pristine note delivery like a set such as Turii Ti for example, or indeed the subject of my last review, the wonderful TIMSOK TS-316. Choose your favourite male or female vocalist, load up some smooth jazz, or reach for a bit of world music from the likes of Bueno Vista Social Club and drift off into a a bottomless pit of euphoria. The mids are really wonderful, and I could think of numerous songs where I’d challenge any listener to not have the hairs stand on their arms, and have that breathtaking sensation. By the way, I’m still listening to ‘On The Beach’ - any current or would-be Perpetua owners, I encourage a listen if Neil Young is your thing.



Up top surprise surprise, the theme carries on with a crisp but smooth delivery. There is sufficient air to give that wide stereo field presentation, especially with cymbals, snares etc. As noted, we don’t have every tiny bit of detail squeezed out, if you want to be wowed by micro nuances, the Turii Ti a better place to look - but for me these sets complement each other wonderfully, depending on the mood or genre appetite on any given session. I am still curious to discover where I was caught out a couple of times early on with a sharp peak - it feels a bit of a mystery now, but it was evident enough at the time to not call out in this review.

The soundstage to my ears has that classic 2-channel stereo sound I love to hear in single dynamic drivers. The presentation is focused quite central, putting you slap-bang in the middle of the music, but hearing instruments spread out left and right as if sitting in that beautiful sweet spot in front of a speaker system. Again I refer back to my new Lintons - I have exactly that scenario when I listen to them, and Perpetua really are the IEM equivalent in many ways to those speakers. Again the more macro focus allows smaller instrument ensembles really shine - the imaging and layering of each sounding authentic and robust in delivery - vocals sitting centre and a touch forward. More complex and highly detailed music can still work, but again Perpetua wouldn’t be my immediate choice when it comes to say faster, complex electronic music. That said, they have surprised me in more recent weeks when I’ve tried albums I wouldn’t have figured would be a good match - the classic ‘Tri Repetae’ actually sounded wonderful, harking back to the heyday in my opinion of these electronic wizards… likewise the equally classic ‘Selected Ambient Works 85-92’ by Aphex Twin sounded incredibly analogue and captivating - I guess due to the equipment chosen by the brilliant Mr. James at the time. Anyway, I get the feeling that Perpetua will continue to surprise me and I don’t want to risk pigeonholing them too much into a limited selection of genres. Hey maybe I’ll take a few ‘risky’ tracks for spin as we continue this review…



Now lets serve up a selection of tracks for our listening pleasure - make sure to have a brandy in hand! I’ve listened to Perpetua with a variety of sources to include the LPGT Ti, Sony NW-WM1AM2, desktop and in this case of this track selection, I’ve chosen the Hiby RS8.

I try to post tracks from Bandcamp but quite a few of these aren’t featured there unfortunately so I’ve linked to YouTube in these cases instead.

Matthew Halsall - Oneness



I noted earlier how relaxed jazz is well suited to Perpetua, and this is a fantastic example of what I meant. Again, going back to my chair with my feet up on the ottoman, brandy in one hand, cigar sat in the ashtray (I don’t smoke anymore, but you get the picture hopefully) and maybe flicking through a magazine about classic cars or vintage audio equipment. This is a completely instrumental track, as is the case with the majority of Matthew Halsall’s music, except for where he collaborates with a vocalist. Here we have a somewhat dominant sax theme, slow and sparse, yet captivating percussion, accompanied by gentle piano and guitars. It is a coherent and vibrant presentation with a wonderful sense of being whisked away to a small jazz venue, at least temporarily being dragged out of my fantasy chair. I find it hard to imagine any other IEM outclassing Perpetua for a genre like this, they really are made for each other - smooth, organic, full-bodied and highly realistic sounding timbre.

Turii Ti sounds immediately more resolving with a pristine and sharper note edge delivery. It doesn’t get harsh, but I much prefer the body and overall atmosphere delivered by Perpetua. I think the more ‘stereo’ soundstage works better on Perpetua. Not that Turii Ti sounds bad, and it could well be a case of needing more time to settle into the very different tuning.

IE900 sort of continues the theme of Turii Ti, sounding more pristine and precise - the increased bass is very obvious, and we revert back to a more 2-channel like stereo field as per Perpetua.

Svanar is more highly resolving and airy versus Perpetua, and while it sounds wonderful, it doesn’t quite have the captivating magic mids - the sax sounds a bit thin in comparison in particular, and overall less authentic.

Jason van Wyk - Clouds



Moving on to modern classical and from the wonderful album ‘Opacity’ by Jason van Wyk. This is a very moving listening experience, where Jason blends electronic music with classical. The piano sounds beautifully rich, full-bodied and visceral - especially the lower registers. I feel there could be a bit more ‘bite’ higher up, and this is where a set like Turii Ti will step forward in my opinion - the richness of Perpetua versus the pristine delivery of Turii Ti, the former giving more density and weight to the lows and mids but to the slight detriment of the upper mids and treble - this is where Turii Ti shines in my experience. We are still firmly rooted in my chair however, and no problem pouring another glass - just not necessarily a top-top performer, but maybe also it’s how familiar I’ve become with a genre like this and Turii Ti for about 18 months now.

IE900 now as I’ve covered Turii Ti above. In spite of the somewhat recessed mids, and even though they do sound a bit distant of thin in comparison, they still sound very delicate and quite beautiful. IE900 has often surprised me over the last almost 3 years with music I would not have expected them to work with and this is the case again here. I have definitely pigeonholed IE900 into a category of faster electronic music, and this test has reminded me to broaden my horizons with my sets, and the importance of experimenting.

Svanar though I must say within a few seconds has me back thinking about that chair, the combination of resolution and more neutral tuning works very well here and sounds more delicate and captivating versus IE900. As per Turii Ti, I feel this genre benefits more from a set like this, and I would put it ahead of Perpetua also in this regard. By the way my fantasy chair isn’t exclusive to Perpetua, it’s just the set that got me thinking of the need for that chair…

Symbolico - Gaian Portal



Moving into potentially risky territory here as we step into strictly electronic music which in this case is somewhat complex and incredibly well produced. It is not a genre I would associate with this IEM, nor my fantasy chair - this is what I would grab the likes of IE900 for while out walking or a work commute. I must say this has surprised me however and almost contradicts my musings earlier on the ability of Perpetua to deal with macro and micro details, and indeed how the mid bass kicks. The details are abundant and crystal clear - the kick drum packs a punch with huge impact and quantity. Treble has nice bite up top but doesn’t tip over into harshness or anything to my ears I would deem uncomfortable. We are actually getting a good sense of both macro and micro details, but I would say still a dominant macro focus. While the driver typically feels more at home with slower genres with instrumental and vocal focus, it proves here that it can actually pick up the pace as required for more complexity and this has surprised me.

Turii Ti in terms of technical prowess is immediately apparent - buckets of detail, and much more hi-res sounding within only a few seconds. The bass is surprisingly good too, as this is not a strong attribute for Turii Ti - certainly not at the level of Perpetua, nor will it be for the others in these comparisons, but delivers well.

IE900 to my ears sounds like it has all of the right ingredients for this track - just right in terms of resolution and pace to deal with the complexity, and I prefer the stereo field versus Turii Ti, plus of course the superpower that IE900 is well known for, that incredible low-end of deep rumbling and visceral sub.

Svanar becomes more full-bodied versus IE900, immediately obvious when I switch and again has excellent resolution and pace. The vocals and instrumental elements in the mids are more lush and captivating, and while not as organic or analogue sounding as Perpetua, it is a very good rendition. IE900 clearly excels however from a bass perspective.

Washed Out - Time to Walk Away



No it’s definitely not, lets stay seated… not sure about the brandy though. I love this song, and have mentioned in some previous reviews - it’s a summer favourite for me and my family, and an album we often play in the car when on holiday in particular or just a nice sunny day at the weekend. It has a really uplifting vibe to it, a really catchy and well produced song. I’m really enjoying this on Perpetua and again not one I would have thought to load up in a listening session. While the track is relatively busy, and has reasonable pace, it still has a smooth and organic sounding delivery - I’ve not listened yet on my Lintons, but I anticipate a similar experience. I love how the imaging positions various instruments, and again we have that full-bodied delivery that is highly visceral and engaging.

Turii Ti starts out incredibly well, very engaging mids and immediately captivating. There is a huge sense of space, with the highly resolving driver capturing every little detail. As expected, sounding more ‘pristine’ and hi-res versus full-bodied and organic. A hard call here as the track is well produced and does sound fantastic on both.

IE900 needs a bit more volume injected in straight away but then steps up nicely. It does sound a bit thin in comparison, the recessed mids definitely obvious in comparison but I’ve always found with the IE900 that my ears settle in to the tuning and pretty quickly it’s not an issue. IE900 sounds snappier, and arguably the best in terms of it’s speed ability to keep up with the busiest passages.

Svanar sounds ‘slower’ coming from IE900, and the overall more neutral tuning lends itself very well to this track. It is still more similar to both IE900 and Turii Ti in terms of sounding more hi-res rather than organic and lush with Perpetua. Interestingly, it sounds the ‘safest’ and has a very smooth delivery which makes for a fantastic listening experience.

Rage Against the Machine - Killing in the Name



An older recording as it’s a CD to FLAC rip that I likely did at least 15 years ago when I was spending a lot of time digitising my collection. I find a lot of these rips can sound at best a bit flat, and at worst a bit harsh. This is never going to sound smooth on any set but I’m happy to report it doesn’t sound harsh - timbre for both vocals and instruments is actually very good, absolutely love how the electric guitars are positioned and delivered with excellent authority. Even the busiest and most climatic moments are well handled, and there is good body to both vocals and instruments in spite of the age and quality of the recording. Another unexpected outcome, but maybe a logical outcome in terms of a more analogue sounding presentation actually works really well for this genre.

Turii Ti sounds immediately a more holographic presentation, but lacks that analogue and heavier note weight from Perpetua which just sounds more accurate. It feels a bit like listening to a CD in my car versus vinyl on my home system, the latter of course being Perpetua. The peak moments also lean a touch harsh here with Turii Ti.

IE900 steps back in terms of that holographic stage and more classic stereo field, and while we don’t have that full-bodied Perpetua presentation, it does sound pretty good - I’m surprised here that even with the v-shape the mids don’t suffer too much, and the climatic moments don’t lean harsh in the way Turii Ti did. It is still thin in comparison, but again actually an engaging listen - I could comfortably line this album up again with the IE900.
Svanar actually sounds quite good, nicely balanced and again that pleasing stereo field. The timbre doesn’t sound as accurate as Perpetua though - that extra body/weight is presented in a more pleasing manner and sounds more realistic to my ears. It is a little flat on Svanar in comparison, coming across a bit thin overall.

CJ Bolland - Camargue



Some classic techno/trance now from the legendary CJ Bolland. This again is an older recording and I don’t expect hi-fidelity presentation. I’m simply listening to hear how Perpetua copes with this genre, especially actually being from the early 1990s. This is a fast track, with the typical four-on-the-floor kick-drum pattern and melodic synths. It has a retro sound which for my ears is authentic and incredibly reminiscent of that era, a time very close to my heart as a coming of age teenager in the mid-90s. Perpetua handles everything very well, albeit a touch soft on kick-drum impact but nothing I’d lose sleep over.

Turii Ti is probably one of the last sets in my collection I would consider reaching for when listening to a genre like this, so my expectations as I insert the jack aren’t especially high… the intro starts well, with nice melodic synths but as we progress into the kick drum, it is just too feeble - also the higher resolution doesn’t work well, it sounds flat - the extra body in Perpetua really helps with this older recording.

IE900 improves things, but not as much as I might have expected. I think again it falls into the same category as Turii Ti in terms of the resolution, and even it’s mighty bass and treble can’t come to the rescue here - it still sounds rather lifeless. A tough test track to be fair given it’s age and how a lot of these FLAC rips from early 90s CDs don’t tend to sound fantastic, but an interesting discovery to find that actually a set like Perpetua is better suited here.

Svanar pushes a bit more into the mids versus IE900 and the difference is immediately obvious, but yet again Svanar is a touch too resolving and pristine to allow this track to work. I could listen to it, but still rather flat.

Jonsi & Alex Somers - Boy 1904



I expect this to work well, and I am well and truly back reclined in my fantasy chair here. This is a wonderfully haunting and captivating track, and beautifully rendered on Perpetua. The vocals and instruments sound lush, occupying a large/wide field and incredibly visceral.

Turii Ti sounds more precise and pristine and I would say equally haunting. A tough call here as to which I prefer, they both do a stunning job in their own way with Turii Ti sounding more ‘hi-res’ and Perpetual leaning more analogue.

IE900 instantly sounds more ‘hollow’ where the mids step back considerably, really no contest - as the emphasis in this track is very much the vocals and likewise even the instruments sit predominantly in the mids, it is impossible for IE900 to compete. To be fair, had I listened to IE900 in isolation, I would have thoroughly enjoyed - it’s just very obvious when switching from the others.

Svanar steps in and an instant improvement on IE900 where the mids push forward and have more vibrancy to them, providing a more captivating experience but not at the level of ‘lushness’ with Perpetua, or the same level of resolution as Turii Ti. Definitely still sounds a bit thin in comparison overall with the more neutral tuning.

Mano Negra - Out of Time Man



I’m closing with this one, and not going to compare with anything else as I want to go out on a track exclusively to Perpetua. I rediscovered this track when it featured in a TV show a few years ago - it was a real blast from the past, a track I had completely forgotten but immediately whisked me back to my early teens watching MTV. I often wonder how many other lost tracks there are out there like this. Anyway, it sounds so wonderfully effortless and engaging on Perpetua - vocals are central, and with a nice density - instruments pan out left and right, all having more than adequate space but yet still a nice cohesive delivery. It is yet again putting shivers through me as a listen now!



Conclusion

It has been a long wait to finally get Perpetua in my ears, and I have been following impressions and reviews from those that went before me with great interest. I can say with absolute certainty that it has been worth the wait, and if anything Perpetua has exceeded expectations - a unique tuning that may not be perfect for all genres, and indeed won’t be for everyone either due to fit or tuning, but in my experience over the last five weeks or so, Dita has delivered a truly unique product, that oozes premium branding in every single aspect from the moment the box arrives, to plugging in those beautiful shells into my ears for the first time - and now each time feels like a special listening ritual, one that requires it’s own dedicated listening chair... I’ll probably skip the cigars, and we shall see what the chosen tipple might become. It was an interesting discovery also, or maybe even go as far as to call it serendipity to land upon a set of speakers that seem to be pretty much the 2-channel version of Perpetua - both sharing that ‘old world’ analogue tuning that is so utterly rich and captivating, and urges you to get lost in the music for hours on end.

I struggled to decide on awarding 5 stars or 4.5 and landed on the latter due to the issues some have had with fit for the most part - it's hard to give full marks when this risk exists, especially at this price - from a sound perspective however and absolutely everything else, 5 out of 5 without a doubt. Dita is without question the most premium branded product I have encountered in this journey, and again while expensive at $3K, you do get a premium package in every way.

TIMSOK TS-316 - $499 Single Dynamic Driver



Introduction and Caveats

I am a single dynamic driver fantatic - let me get that out of the way before I say anything else! I am drawn the coherency and overall charm of the humble single DD, and my radar always on high alert to any newcomers on the scene. So I was quite intrigued to see the TS-316 appear on Musicteck a few weeks back, and knew pretty quickly I had to have one. A large focus for me in this hobby over the last few years has been single DDs, and I've owned quite a few - and indeed held on to some gems I've discovered along the way. It is always fascinating to hear the diversity of tuning from just a single driver, and to note the improvements over time, with some really excellent sets available at a more entry-level price point... the Simgot EA1000 a case in point, and a subject for a future review. In spite of trying quite a few kilobuck sets over the last couple of years, I keep coming back to single DDs and have pretty much accepted these are my focus for the most part. My DD collection includes the below, and I find all excellent in various unique ways and often to suit very different shelves of my library.

1. Softears Turii Ti
2. Dita Perpetua (a very recent addition)
3. Victor (JVC) FW10000
4. JVC FW1500
5. Technics TZ700
6. Sennheiser IE900

I've sold quite a few over the last couple of years, and tend to regret parting with them - I would like to have held on to them all, but typically the lure of some other shiny new toy led me to sell something to raise the cash - an illness many here will be familiar with! I list my collection as a point of reference to consider in this review, and I will of course compare some of these later on.

I would like to thank Andrew as always for his excellent service and overall contribution to our community, not sure where we'd all be if there was no Musicteck! I was provided with a discount in exchange for a review here on Head-Fi, and as always, all thoughts, pictures, and general ramblings are mine and mine alone

A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and techology from as far back as I remember - even as a small child asking 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 all 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), and I was biten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occassional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.

The TIMSOK TS-316 is available from Musicteck for $499 at the time of publication HERE




Who are TIMSOK? (from Musicteck)

TIMSOK was founded in 2018. The founder and partners all have more than 20 years of experience in the acoustic industry. TIMSOK has provided drivers and tuning solutions to many famous brands in recent years. Also, TIMSOK has many patents on the planar magnetic units and the dynamic units. And the planar patent is the initiative in the world.

Specifications

Model: TS-316
Driver: 10.2mm Dynamic Driver
Sensitivity: 102.5db 1KHz
Frequency Range: 20Hz~20KHz
Impedance: 32Ω
Cable: 1.25M / OCC
Connector: 0.78mm 2Pin
Plug: 4.4mm Balanced
Adapter: 4.4mm Female to 3.5mm Male

Unboxing & Accessories

The unboxing is pleasant, but nothing exceptional in my opinion. The TS-316 arrives in a rather understated box -




Opening the outer flaps reveals the contents, or at least the boxes that contain the contents...



Digging deeper, we get to see the TS-316, albeit under a paper sheet - getting closer though



An incredibly shiny mirror-like stainless steel that looks stunning, is a pain in butt to photograph, a fingerprint magnet, and definitely easy to scratch - over the last four weeks or so I have been incredibly careful, yet have still managed to get a few micro-scratches.



All of the included accessories laid bare (excluding the case which I'll cover next).

1. A selection of tips in small, medium and large (I'd like to see a better selection at this price point)
2. Stock cable with 4.4mm balanced jack
3. 4.4mm to 3.5mm convertor
4. Soft pouches for TS-316

The supplied case is of decent quality and while a reasonable size, it can still be a bit tricky in my experience to wrap up the cable and have the socks on the TS-316 and all fit securely in the case - it is possible, just takes a bit of work.



There is a handy net storage at the top which I've found useful for additional tips.



Design and Fit

The TS-316 are a reasonably small form factor (and are much smaller than what they look in pictures), with somewhat stubby nozzles - these can be a tad difficult to get a secure fit, and I certainly had to reach for my trusty Symbio F fairly quickly to ensure they stayed in. The Symbio F in my experience don't negatively impact the tuning, but still provide a good secure seal - foam tips have a reputation for increasing low-end, and reducing high-end but I don't find that to be the case with Symbio F, or indeed it they do, it is not very obvious to me. They are vented, and no problem with any pressure build.

The shells are really stunning looking and feel excellent quality - there is a nice weight to them even though they are quite small.







The cable as noted looks very nice, however is not very practical to use - it is terribly unwieldly, microphonic, and has a tendency to pull the IEMs out of my ears if I don't ensure the neck cinch is secure. For the purpose of this review, I have endured these issues but a lot of my use over the last few weeks has been with 3rd party cables, my favourite being the Satin Audio Athena.

I attempted countless times to wrap up the cable in a typical curling fashion to take some shots but it point blank refuses to stay in place, immediately seeking random directions to unwrap itself - best I could do is capture as below, which gives a sense for the material and overall finish. It is certainly a smart looking cable, and absolutely feels high quality but I would suggest TIMSOK rethink as I can't imagine many people will enjoy actually using it.



Pictured here with the Satin Audio Athena... I would prefer if the cable sat flush but otherwise I like this combination a lot and has been my choice most of the time for the last few weeks.



Listening Impressions

As noted in the intro, I have owned many single DDs and without question my favourite variety of IEM. I love having a collection of 'specialists' that cater for my pretty broad range of musical preferences, and indeed various listening use-cases; anything from out walking, in bed, moving about the house, travel etc etc. I had pretty high hopes when I ordered the TS-316 that I would enjoy them, I do have 'happy ears' in that I rarely actually dislike a set, but tend to look for where synergy exists with my library and listening sources - some are fantastic with faster electronic genres, others better suited to more relaxed acoustics and vocals, and of course everything in between.

I've had the TS-316 paired with various sources to include LPGT Ti, Shanling M6 Ultra, Sony NW-WM1A, and most recently my new Hiby RS8 - oh and my desktop, Eversolo DMP-A6. While they aren't a especially hungry or picky IEM, they definitely appreciate some power - not unusual for a dynamic driver.

Pictured below with Hiby RS8 and Effect Audio cable.



The sound is overall nicely balanced, with very good detail retrieval and a reasonable stage size that can at times present with a somewhat holographic sensation, allowing instruments to sit very precisely in various positions across the stage. Even taking apparent tuning limitations of a single dynamic driver in terms of to what extent frequencies can be sufficiently represented into consideration, there is excellent low-end, very respectable mids, and clear/airy treble up top - possibly leaning a touch bright at times with more challenging recordings or for those more sensitive to this region. Again, being a single dynamic driver, it is a cohesive presentation that tends to focus the position to the centre of my head, providing that 2-channel speaker sweet spot sensation. I would say a reasonable all-rounder, but does some genres better than others, and best suited to modern higher quality recordings.

Bass

The sub is more prominent, and has very good extension and rumble, digging deep as needed. Mid bass has reasonable impact but the quantity steps back and I would say impact is a touch soft. Timbre sounds excellent on both 'real' and synthesized intruments - lower registers on piano, bass guitar or the deeper tones of a synthesiser. Overall I find the bass very well executed, and offers a nice sense of texture to the presentation.

Mids

The mids tend to sit quite level in the mix, presenting in a somewhat W-shape - vocals don't step forward, more so in-line with instruments and central. Upper mids can be prominent and this occassionally hits my area of sensitivity with older recordings in particular. From testing male and female vocals, I would lean towards female as I find male can present a touch too light, lacking the body I would usually seek in artists such as Leonard Cohen or even Elliot Smith who sounded almost sibilant at times. Instruments in this region have excellent detail, very clear and precise timbre which tends to be somewhat more energetic due to the upper mids and as we step up to the energy up top in the treble.

Treble

Airy, extended, crisp and somewhat bright which allows for a more energetic signature and helps give a larger sense of stage and detail retrieval. I love how instruments like violins extend at these higher registers, and indeed percussion which sounds lively and very realistic. While I do not find the treble too extended, it might be a challenge to those senstive in this area.



Test Tracks & Selected Single DD Shoot-Outs

I have selected a few sets at various price points to compare with the TS-316 - the sequence of testing is from most to least expensive for each track.

1. Softears Turii Ti
2. Sennheiser IE900
3. Victor FW1500
4. Simgot EA1000
5. Orivetti OD200 (silver nozzle)

Nation of Language - Tournament

As per my comment on Elliot Smith, I hear the male vocals here a touch thin - I would like a bit more body, but it is an improvement on Elliot, I think due to being a more modern recording. Aside from that, the track has a great sense of vibrancy and wonderful air between instruments, each presenting with an excellent sense of space, I love how the percussion is rendered, spread out on the stage with the accompanying synths and bass guitar. The song is lively, engaging, and works wonderfully well with the TS-316.

• Turii Ti immediately sounds a more lush, with added detail, clarity and stage size extends out in all directions. It feels a bit like going from standard to hi-resolution. The track doesn't call for much bass depth, as such Turii Ti copes perfectly well. It perhaps sounds a little less energetic, becoming instead more vibrant and emotive with the more emphasised mids. The vocals have some more body to them too, but I still feel I could do with more density
• IE900 is again very captivating, with the emphasis on bass and treble immediately evident. I don't find the somewhat recessed mids here being much of an issue, and there is excellent overall clarity and detail. You can hear the snappy DD being able to manage any speed with absolute ease, with lots left in the tank if were needed. Again I feel the TS-316 has a greater sense of urgency and excitement to it, but both sound perfectly enjoyable.
• FW1500 is my least favourite so far - I think this is where the slower driver is less capable, and it sounds somewhat lifeless compared to TS-316, and indeed the others. Vocals push forward, but not rescued due to other issues such as a sense of congestion which ultimately leads to a harsh rendition of the track. This doesn't surprise me, as the FW1500 is not a set I would associate as being a good fit for a genre like this.
• EA1000 is a huge improvement on FW1500, but definitely not at the level of TS-316 - the main difference being the ability to handle each element of the track where it can't cope quite as well at TIMSOK, coming off a touch harsh during busier passages. Vocals are however a bit more forward, and have some more body.
• OD200 gives us the smoothest presentation, with a very captivating performance across the FR - not at the level of detail, airiness, or stage size vs TS-316, but a solid offering and as I've generally found with this set, you can just enjoy your music.

Julia Jacklin - Don't Know How to Keep Loving You

Timbre for both vocals and instruments sound immediately stunning and beautifully captivating - TS-316 definitely excels with female vocals over male, and is really wonderful with slower tracks with like this. Julia's fantastic voice is central, a touch forward and you can hear such clarity in every word - the passion in the chorus easily bringing hairs to a stand. There is a large stage, and I really do feel immersed right in the centre. Absolutely fantastic.

• Turii Ti - I have a very similar experience here as to the Nation of Language track above - yet again, a larger and more holographic stage with more air and detail, and incredibly captivating. Julia's vocals are stunning, and offer a touch of an 'improvement' over the already brilliant performance on TS-316. Both sets are excellent for this track, but Turii Ti does step ahead.
• IE900 - I love the stereo field presented by IE900, always instantly reminds me of a 2-channel system. Julia's voice does step back and lose some body in comparison to the others, but it wouldn't be enough to dismiss IE900 completely by any means as the precision, speed and clarity of IE900 gives a different take to the others, and is very captivating in that wide stereo field - I love how guitars, drums, bass are presented with such clarity but yet still highly emotive.
• FW1500 immediately pushes the vocals forward having just come from IE900, but they are not at the level of TS-316 in terms of clarity, definition and overall realism. Again it's a more stereo field, but lacks the captivating allure of TS-316, I think largely due to the more prevalent upper mids on the TIMSOK and absolutely steps back significantly in overall resolution. Had I not just been listening to these other sets however, I suspect I would have thoroughly enjoyed on FW1500.
• EA1000 brings us back to TS-316 territory, and in many ways sounds a bit like a baby TIMSOK It doesn't quite reach the heights of stage, detail, air, and overall timbre but really not a million miles away. Julia's voice is again central, vibrant, and very captivating - bordering a touch on sibilance at times but not quite, and I do hear TS-316 as the more capable driver in this regard too.
• OD200 has the most relaxed/smooth presentation of the lot, with a very 'musical' delivery which is hard to fault from a listening enjoyment perspective, before we start getting into technical nuances etc - yes it has a smaller stage, yes it has less detail, layering, imaging but a highly enagaging listen.

Anthony Linell - Fractal Visions

Some dark, brooding techno of the slower variety here with a lot of complexity and detail. This to my ears sounds fantastic, TS-316 does a great job of presenting the many layers of detail from the lowest to highest of frequencies, sounding quite holographic and very captivating. While the synths can meander into the upper registers, I don't find them piercing or harsh. It is a well produced track from an excellent album, and TS-316 is a very well suited IEM.

• Turii Ti steps up from an overall stage perspective, presenting a large holographic field for the many layers to explore. It falls down however immediately on bass, and this track needs bass. The emotive synths that present later in the track sound very captivating, and present out wide into the vast stage. It is an enjoyable listen, but I'd comfortably take TS-316 in this instance.
• IE900 is made for this track - the deep bass, and crisp uppers really allow this to shine. The fact that the mids step back a bit with the IE900 matters less for me with a genre like this, where synths are still sufficiently lush and actually better positioned a touch back vs lows/highs. While TS-316 does a fantastic job here, the IE900 for me takes the prize where the tuning is more appropriate to my ears.
• FW1500 as a smoother, less resolving set immediately sounds more intimate and somewhat congested coming from the IE900 - I do adjust after a couple of minutes and while the driver isn't as fast, it copes perfectly well with this track and I'm not left wanting for anything. There is a clear difference to the TS-316 in overall detail, stage, and as a complete package is less captivating.
• EA1000 presents a 'safer' take, but we've still got a lot of detail and the bass does a good job in capturing your attention, feeling quite drawn to it's rumble. I expected this set to be more challenging but TS-316 is actually brighter up top, and more resolving, as such at times poses a greater risk to tracks with a lot of energy - not the case here, but I do still hear EA1000 as that bit smoother.
• OD200 again has a smaller, less detailed presentation but does an excellent job - I find OD200 well suited to various electronic sub-genres and absolutely the case here too with a slower/more abstract variety of techno. While not as 'impressive' sounding as TS-316, it certainly draws you in to the overall experience and allows you enjoy the complexity without creating fatigue.

Irezumi - I

I know this album intimately well, having listened countless times for many years - up there with my favourite ambient albums of all time, a real gem. It is beautifully captivating on TS-316, with delicate acoustic guitars gently strumming against a backdrop of emotive synths and deep throbbing bass lines. I find the tuning of the TS-316 pretty much perfect for this genre, allowing me to immerse myself in a pool of ambience, while still ensuring the various instrumental nuances are captured which ultimately creates an incredibly visceral listening experience.

• Turii Ti has the edge here which again I would have expected. The bass definitely steps back, but still present and sufficient enough to capture the sense of drama in the track. The stage is bigger, more holographic and overall a more captivating experience - the 4x price has to be factored, and with that in mind many might be perfectly content with the TS-316 which does a wonderful job considering the price difference.
• IE900 does what I would expect, and injects more depth into that wonderful almost 'pulsing' but subdued and cavernous bass. It doesn't have the vibrancy in the mids, and the guitar in particular has a noticeable drop in realism - TS-316 has a more captivating and ethereal presentation overall. Not to say IE900 does a bad job, but wouldn't be the set I'd choose when I've TS-316 or Turii-Ti to reach for.
• FW1500 has an immediate sense of vibrancy and richness to the track - detail dials back, and stage feels more intimate but it is a compelling listen in it's own right. Bass quantity is quite large, but a bit more 'wooly' in comparison to TS-316. I feel like I could choose the FW1500 and fall asleep with this track on, whereas I might choose the TS-316 to relax but pay attention.
• EA1000 steps back a touch on resolution, but has a nice enveloping warmth that immediately captivates. The bass is again very captivating, you can't help but have it grab your attention as it makes a slow and pulsing appearance - it's not as defined as TS-316, and overall there is less clarity and air surrounding but regardless still sounds wonderful.
• OD200 yet again has an obvious bass emphasis, with a lovely visceral rumble immediately apparent. The guitar sounds authentic and captivating, but a few steps behind TS-316 in overall timbre and detail. The stage is smaller, overall sounding more intimate versus the more holographic presentation of TS-316 or Turii Ti

Globular - Dasein

Some psychill now courtesy of the brilliant Globular. A hallmark of this genre is very high production, deep bass, and emotive synths with often many layers of delicate complexity. This is again a genre that is well suited to TS-316, the resolving nature ensures you hear all of the details, along with the deepest reaches of sub and on up to uppermost treble region. The complexity in a track like this even though not necessarily fast-paced, still requires a competent driver that can keep up and no issue at all, the TS-316 sounds snappy and comfortably handles what can sound like countless layers. The upper energy is at times evident, and again while not an issue for me, it might be a touch bright for some - you will know yourself, if you prefer a darker IEM, this is not for you.

• Turii Ti immediately sounds much more expansive, with a big step up in terms of the distinction between the multiple elements of the track. Bass takes a step back as expected, but still has excellent quality, but quantity is reduced significantly. The upper mids are quite evident which I feel is partly to do with losing some bass emphasis, we are drawn more to the mids which isn't really a good thing here as the genre requires more bass emphasis. The upper extremes are similar to TS-316 whereby they might extend too far for some, touching on harsh at times but not quite tipping over the edge. A problem here is where the bass lacks, there is a personal tendency to increase the volume, which ultimatley in this case becomes to the detriment of the upper mids and treble. I would choose the TS-316 for this genre, no question.
• IE900 steps into the ring here with a very confident strutt - this should be where IE900 can really put up a fight, and I can say now for sure that is the case. The IE900 hallmark bass, both snappy and deep, certainly one of if not the best I've heard in a DD really steps up to the mark for this genre. With the mids stepping back, it has a safer presentation but we still have the highest frequencies to contend with, again IE900 known for it's V-shape and somewhat bright and crisp treble. If this was a boxing match, IE900 would have taken out Turii Ti within a few seconds, but likely a more challenging fight with TS-316 where they both compete with excellent energy and overall competency, albeit with slightly different takes - TS-316 more vibrant in the mids, IE900 sounding that bit more snappy and precise.
• FW1500 immediately sounds too slow for this track, and feels like it's struggling to keep up - which doesn't surprise me at all, the FW1500 for me is better suited to slower, less complex genres as the driver seems to be somewhat slow and an overall less resolving set. It feels a bit disorganised having just come from the more capable IE900, and equally struggles to compete with the TS-316.
• EA1000 surprised me here in terms of overall performance - there is less upper energy, and while it's a resolving set, there is a touch more warmth and less detail / air vs TS-316, as such this track comes off sounding more captivating but does step back in stage size and imaging, sounding more intimate but also captivating. While bass doesn't extend quite as deep, it is still 'deeply' satisfying, and mids have wonderful clarity - treble is crisp, but not at all harsh. Top marks here to one of the cheapest sets in the test.
• OD200 is one I had no doubts would excel here, and indeed it did - while in somewhat similar territory to EA1000, it steps back again in treble and never even comes close to any sense of harshness. The bass is fantastic, mids are lush/clear/detailed, and treble has sufficient presence to allow some air and detail up top, along with a smoother execution. Again, we don't have as much detail, we have a smaller stage, but we have better synergy in another $200 set - and for those of you who don't like extended treble, the OD200 can easily take top prize in this test. Safer tuning here equates to a better experience in my opinion.

Hania Rani - Luka

A beautiful piece of modern classical / ambient music with an emphasis on piano. The detail, clarity, and timbre here sound absolutely wonderful. It has that sense of feeling like the music is playing in the room with you, a vast sense of realism where you feel like you can almost touch the piano in front of you. There is a visceral delicacy to the presentation that is really sensational.

• Turii Ti in comparison steps up further with the detail, and spreads out the stage to a considerably wider field. While bass steps back, there is an overall increased sense of warmth that adds to the sense of emotion - it sounds more ethereal and captivating, and the detail nuances are clearer. The Turii Ti however is 4x the cost, and my go-to for a genre like this and while it is of course better, I would struggle to suggest it's 4x better.
• IE900 has a noticeable drop in the mids, the piano not as rich or vibrant sounding and as such timbre takes a hit. The accompanying details are well presented, and again quite captivating - what I assume are piano pedals actually step forward compared to Turii Ti, but this to my ears doesn't sound as 'correct' as I expect them to sit behind in the mix.
• FW1500 is the warmest, and smoothest here and steps back in stage size and imaging. Piano is very full-bodied and captivating, positioned centrally but loses a bit of upper mid vibrancy when called for. Details are apparent, but less so than the others. It's a different take - less resolving, but more relaxing potentially.
• EA1000 brings us back to a more resolving territory, where we've again got the higher registers of piano and an overall brighter presentation. It's not as precise or pinpoint vs TS-316, it sounds a touch more rounded at the edges and softer, lacking a bit of bite that creates a less revealing and ultimately less visceral experience. To be fair, for a set that is less than half the price, it certainly puts up a good fight and if I didn't A/B, I would have been perfectly content with what I'm hearing.
• OD200 again has nice vibrancy and weight for piano, stepping back however in the upper extremity of the mids which reduce the sense of timbre realism. The stage is more intimate, but still has a good sense of imaging and detail. It is a captivating listen, and certainly enjoyable but not where I would see this set excelling.

Conclusion

The TIMSOK TS-316 is an incredible performing single dynamic driver, offering a highly resolving presentation across a large and at times holographic stage. The somewhat w-shaped tuning is reasonably flexible for many genres, but in my experience the TS-316 is better with more modern recordings due to the upper energy which can be risky with older recordings - there is certainly a brightness from the upper mids upwards that might be a problem for some, but equally enhance the experience where the music calls for this zone in the FR (female vocals, upper registers of strings etc). They are a very well made, beautifully designed IEM with excellent comfort when you've found the right tips - worth noting again that due to the very small size, some ears will require larger tips to ensure they still in place.

I include a picture below in closing due to my love/appreciation for Stoic wisdom. I've recently added a daily journal practice, where a question is posed in the morning for you to jot down some thoughts, and do the same in the evening - this presents an opportunity to reflect on the question during the day, and revisit in the evening. One morning in the last week the topic of 'deep understanding' was put forward, and it was interesting to ponder the amount of 'learning' required in 'listening' in a critical way - and this can be done in very different ways too depending on the desired outcome - what I once listened to in music when I used to DJ is very different to what I now listen to in trying to understand difference in IEM capabilities, and it takes time to really get a handle on that, certainly for me anyway. I never intended writing reviews when I first joined Head-Fi, it happened by accident really when I shared extensive thoughts on the IE900 back in May 2020, and I was encouraged to convert that to a review - I will be absolutely honest and say I really felt way out of my comfort zone, and still do when I read the unbelieavable quality of some reviews here on Head-Fi but I'm enjoying the journey of learning and exploration, and always strive to improve.

Kinera Imperial Loki - $3,099



Introduction & Caveats

First of all I would like to address the title for this review, just in case anyone has no idea why I am making reference to 'mischief' - in a nutshell, Loki was the Norse God of mischief, trickery, and deception... while I appreciate Kinera stick to a theme of Norse Gods for their IEMs, I cannot apply any of these labels to Loki!

My journey with Kinera began in 2022 when I had the opportunity to try out and ultimately review the Nanna 2.0. I was very impressed at the time with my introduction to the brand, and noted the clear pride and passion Kinera take in their products, obvious from the moment the box arrived. The Kinera rep actively engages with the community and seeks feedback on everything from the accessories they provide to the tuning of the sets... and indeed he too is passionate about music.

When I first learned Kinera had plans for a higher-end set to compete with a different market segment I was intrigued but not surprised - it was obvious the direction they were taking even with Nanna 2.0 at the circa $1k segment of the market, and a reasonably logical and maybe brave move was to take a step up and seek to challenge the kilobuck market. A potential 'challenge' for any brand making a move like this can be how they are already perceived in the market - if you are known for excellent value sets in the sub $200 segments, that can of course make it somewhat difficult to gain attention in a completely different segment - there is the risk of trying to be 'all things to all people', but master of none, and I must say hats off to Kinera as they have clearly managed to cater for this new and highly competitive segment of the market.

I would like to thank Kinera for providing Loki at a reduced price in exchange for a review. As always, they have zero influence on the content, and all thoughts, impressions, photos and general ramblings are mine and mine alone...

A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and techology from as far back as I remember - even as a small child asking 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 all 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), and I was biten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occassional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables!

I am not a professional reviewer or anything remotely like it. I love music, and I love the methods by which we can listen to music - over the last few years, that has become an obsession with IEMs and related gear. I've bought and sold many, and held on to a select few - these have been anything from a $20 set like the Moondrop Chu, all the way up to kilobuck sets such as Aroma Jewel, the infamous 'Traillii' from Oriolus, UM Mentor, and a whole selection of my beloved single DDs. As part of this exploration, I like to share my thoughts on the various sets in my journey with the Head-Fi community, in the hope it might be useful to others. The massive caveat, is of course that 'your mileage may vary' - this is a highly subjective hobby.

Loki Specifications

Loki is a 12-driver set with the following configuration:

• 1x 6mm custom dynamic driver for sub and mid bass
• 4x Knowles balanced armatures for mids
• 2x Knowles balanced armatures for treble
• 4x Sonion electrostatic drivers for ultra-high frequencies
• 1x bone conduction which supports the dynamic driver for low-end emphasis
• Impedance: 12 ohm
• Sensitivity: 107 dB
• Frequency Response: 20Hz-50kHz

Unboxing & Accessories

The Loki arrives in a reasonably large box with the familiar Kinera branding.



The box splits into two parts, with the IEMs and stock Effect Audio UP-OCC pure copper cable on the top shelf...


I love how Loki and the cable are arranged here, giving an instant sense of getting the heart rate pounding in anticipation! Note also the custom design, which I will expand on shortly.



Then on the lower shelf we are greeted by the wonderful range of accessories.



Just when you think you have seen everything however, you then discover even more accessories sitting beneath the tray of tips - here is everything laid out:

1. Final-E tips in S / M / L
2. Azla Crystal in S / M / L
3. SpinFit CP145 in S / M / L
4. Symbio F in S and M (no idea why L is skipped here, I guess due to a 6mm nozzle which is on the larger size)

The case is a genuine leather puck style and is of wonderful quality and very practical in use.



On opening the case, you are greeted with yet another suprise - this time a beautiful branded Kinera cable.



I don't know the specification of this cable as there is no mention on the Kinera website. It is however a gorgeous cable with wonderful ergonomics and overall feels of such high quality. There is minimal microphonics thankfully too. I assume this will be standard along with the Effect Audio cable, and it has actually become my cable of choice with Loki for the majority of my listening.



Finally, if you were already impressed by the included accessories, there is a 'bonus' case available with what I understand is a limited number of Loki and now also available as an accessory from Kinera for around $80.

The case I assume is leather and is again of very high quality with plenty of space to store a DAP, IEMs, a selection of accessories.





Design & Fit

As previously noted, I chose a custom design rather than the standard Emerald finish - not that there was anything wrong with the stock finish, that does indeed look stunning but I had a desire to have something a bit more simple looking and in particular liked the idea of a dark blue/navy shell. I borrowed the idea for the designs on the shells from another Loki owner, and went my own route with the navy smoked finish - I have to say I was absolutely blown away by the finished product, especially when I got them into my hands. Oh and I discovered after they arrived that one of the logos is actually from Harry Potter, the other from a game - chosen by my fellow Loki owner as he loved the simplicity, and I absolutely agree. It was great to engage with Kinera on the design process too, and we went back and forth a few times while deciding on colour, and various styling elements such as the smoked finish we ultimately landed on.

It is always hard to get across in images the sheer beauty of some IEMs, and that is again the case here. They look stunning, they feel absolutely amazing - almost like marble to touch. I would say they are one of in not the most beautiful IEMs I've had the pleasure of owning.



As you would expect with a set like this, there are vents to ensure no pressure build occurs and as someone who is incredibly sensitive to this, I am happy to say they are doing their job.



There is a slightly recessed 2-pin connection - again good to see this, I'm not a fan when completely flush as it always feels like there is a risk of bending pins in the set.


The shells are definitely on the larger size and a relatively wide nozzle at 6mm. I find with sets like this that I need to choose a slightly smaller tip, or tips that aren't as bulky. I've tested quite a few but recently settled on the Azla Crystals as I find I can get a good deep insertion with an excellent seal.

Overall, I find them comfortable but I do get a sense of fatigue from longer sessions - by that I mean probably coming up to around 2 hours where I might need to take a break for a few minutes.




Listening Impressions

I've had Loki now for just over a month and plenty of time to get to know them with my library and various sources. I have listened mostly via my LPGT Ti (pictured below along with the Vortex Alida cable which is obviously sold separately!), Shanling M6 Ultra, Sony NW-WM1A and Shanling H7 in that order. Synergy is pretty good with them all, but occassionally LPGT Ti a bit too revealing with it's highly neutral tuning - the others all step back a bit and a touch smoother, and I might reach for one of those depending on the genre I'm listening to.

Note the below picture was taken at night, hence the darker look of the shells - the above pictures are a more accurate representation of the colour... but I do like this picture of my precious LPGT Ti, Loki, and the Vortex cable!



In summary, Loki is a set that leans energetic, lively, atmospheric and highly engaging - interestingly though, I do not find this to be a limitation in terms of genres that Loki works with - most notably, I find even genres such as ambient or modern classical can sound absolutely exquisite, offering an incredibly capativating and immersive experience. Take a genre such a trance at the other end of the scale, and Loki revs up to provide an exhilarating and visceral experience with the deep pounding bass, lush mids and beautiful crisp treble. Overall though I do prefer with more energetic music and I’ll come back to this later.

Bass (6mm Dynamic Driver & Bone Conduction)

This is a fantastic example of why those who love bass, expect to have a dynamic driver and while the DD here is relatively small at 6mm, it is certainly no slouch from a performance perspective - presumably the support act of the bone conduction playing a key part here too. Take a genre like techno where a key component is often a pounding kick drum: Loki strikes in the centre of my head with a sensational impact that honestly feels like it resonates throughout my entire skull - it becomes the foundation to everything else. Likewise if we listen to jazz and focus on a double bass for example... it digs deep, sounds wonderfully authentic with a highly captivating realism. The same applies to any instrument, synthetic or otherwise in the realms of the lower registers - everything sounds accurate, clear, and with fantastic texture and detail. The balance between sub and mid leans more towards sub but not massively - there is certainly a sufficient representation of both in my opinion. And again, I feel with the BCD that the bass truly does have a sense of being the foundation to the entire FR, but not that it dominates in any way - it steps forward with huge authority when called for, and slips away again as required, and never oversteps the mark to become overpowering - that for me would be a deal-breaker. I actually do find it hard to switch to a set for any bass focused music after Loki that doesn't have a DD, BAs can do a great job for sure but never quite match a dynamic driver.

Mids (4x Knowles Balanced Armature)

We have again here a nice authenticity about the mids - instruments and vocals in this region sound to me pretty much as they 'should' with a very accurate sense of positioning. I would say mids are perhaps not the star of the show with Loki, bass and treble step forward a touch more but that's not to say mids perform badly. Both male and female vocals have what sounds like the right amount of body, and sit a touch forward in the mix but not too far - again they sound 'correct' in their position to my ears. There is a good balance of a lush sensation along with clarity and detail - I find this combination to be incredibly emotive when done right, and Kinera have certainly achieved that with Loki. Instruments are represented as one might hope - a delicate piano sounds relaxing, emotive, and captivating - an energetic synth or electric guitar steps up to excite and enthrall. As one might expect for a set at this level, there is certainly no sense of congestion with busier tracks where instruments might need to compete for space, plenty of room for all to shine and with excellent clarity and again realism of delivery. I have had times somewhere I believe in the upper mids where I strike an area of sensitivity and it can be a touch harsh - I unfortunately suffer with this quite a lot to varying degrees with various sets and thankfully it doesn't occur that often with Loki, but must be noted none the less as I know I don't suffer in this zone alone! Going back to my comment on mids 'not being the star of the show', I suspect that's due to BAs on duty here and I tend to lean towards dynamic driver timbre for a lot of instruments.

Treble (2x Knowles Balanced Armature & 4x EST)

Loki extends to a crisp and visceral level by way of both the BAs and ESTs for that extra air and bite. The extension really does provide a sense of a massive stage which is truly holographic. Strings that soar into these upper registers again have that wonderful sense of realism and incredibly captivating, rarely triggering any sense of harshness - I say rarely as I have encountered some issues with lower quality or older recordings, Loki like many sets excels with better quality recordings and can fall down somewhat with lower quality recordings - this is not the fault of Loki per-se, but more so a product of a highly resolving and detailed set. Percussion again has a spectacular sense of air, with cymbals and hi-hats striking with excellent realism in both how they sound and where they are located. I listen to a lot of electronic music as noted in my intro, and I find Loki handles the often complex drum programming of genres like Drum & Bass with ease - crucial to be able to deal with the speed and complexity without becoming harsh.

Technical

Loki is without question a technical powerhouse, but not a clinical monster - it gets the balance incredibly well between emotional engagement and technical ability. As noted, Loki has a massive and holographic soundstage - for those of us familiar with that type of stage you will know the sound tends to sound like it is coming from all around our heads, and can often almost fool us to seem like it is quite a distance outside of our heads... maybe that's where our friend Loki the God of Mischief is playing. As an aside, I noticed recently when I switched from listening to a single dynamic driver to Loki, that at first Loki almost sounded wrong - it was a strange sensation to go from the typical presentation of a DD where they often sit directly in the middle of your head, and resonate outwards - when switching to Loki, I was greeted with this vast stage where I was almost looking for that DD centre... it is of course there, but the distribtion of the overall presentation is so vast that you need to adjust, at least I do anyway! Kinera have definitely managed to pull off some secret sauce here in getting a spectacular balance of technical powers and emotive engagement absolutely spot on - one of the most technically competent sets I've heard that at the same time has a very obvious 'soul'. Complex tracks are represented with wonderful imaging and often what feels like endless layers - likewise more simple songs that may only consist of piano and vocals have a wonderfully large presentation that can be incredibly visceral and captivating - it can sound corny but Loki is one of those sets that almost puts you 'into the music' you become so engrossed, leading to a wonderful ethereal listening experience... I have had many of these scenarios, especially with some more detailed variations of ambient and electronic music - one of which I'll note in my test tracks later on. It is experience like this that I seek out in my love for music, and top marks to Kinera for delivering here.



Test Tracks

First up is the excellent 'Salute to the Sun' by Matthew Halsall. I love this album and have listened countless times over the last couple of years, and I often use this opening track as a test for IEMs. A great track to test timbre, range of FR, soundstage, imaging and layering. Genre probably best described as 'spiritual jazz'.

Loki presents this track in a more 'exciting' way than I'm probably used to with sets such as Camelot or Turii Ti, both of which sound more relaxed in comparison or indeed a different take. Bass steps forward with excellent authority and is delivered in a highly visceral way. The overall performance is presented mostly central, with digital effects pushing the stage outwards left and right. Sax is centre to right, with bass guitar centre and slightly forward. Percussion when it arrives is again quite central and feels like they have a lot of air to resonate out around the stage left and right, strings somewhat behind and out to the left. As the track evolves and all instruments in full flight, it has a real sense of realism and wonderfully captivating. I'm definitely used to hearing this in a more relaxed way on my single DDs or the more neutral Camelot but this is a nice take on it and I wouldn't say one is right or wrong.



Next up is 'Sunflower' by Nabihah Iqbal. I've heard the vocals here sound a touch more vibrant or full on other sets with a more mid focused emphasis but they aren't necessarily lacking here as such - again bass and treble just have a bit more focus. It's a relatively busy track, and as you would expect no issue for Loki in dealing with multiple fast-paced instruments. Nothing is muddy or congested, and very easy to distinguish all instruments and vocals. It again has an 'exciting' presentation which in this case stays true to the track, as it is a more energetic song that the previous test.



'ECCO' by Polypores was one of my favourite albums from 2023, and this track in particular stood out as a real 'climax' moment in the album. I tend to prefer listening to it as part of the flow of the album, so as to appreciate the build but it is still wonderful in isolation. This is a great track to experience the huge stage size in Loki, especially the width which is really evident in this subdued but dramatic piece of music. A pulsating blend of electronics, which I expect includes some vintage synths of some sort as it usually the case with Polypores. It can sound almost minimal, but there is so much going on and Loki is fantastic to really allow me immerse myself into a deep listening experience. Listening to this now, reminds me I absolutely must pencil in some time for the entire album on Loki very soon. Absolutely fantastic.



Another electronic track, this time from Rod Modell and a wonderful ambient work on the brilliant Astral Industries label. This again really shows off the incredible technical ability of Loki, and allows me to completely drift off into a vast and almost endless landscape of music, layers upon layers and wonderful intricate details totally captivate in a way that will sound good on any set perhaps, but spectacular on the likes of Loki. I listened to this album in bed recently on Loki, and it really did feel as if I had been plunged into the music - almost like my existence had become this music (and I was completely sober, nor had I smoked anything )



Sticking with electronic, but moving up significantly in terms of pace and urgency - this is a wonderful modern take on Krautrock by the excellent Ambidextrous. I feel a track or album like this is made for Loki, the exciting signature really showcasing each element of the track, bringing a big smile to my face while listening and tapping at least one foot! There is again a lot going on, with numerous synths, drum machines and various sound effects and it is quite incredible to hear them all across the large stage with such pinpoint imaging and multiple layers. Some of the higher registers of the synths further into the track are touching on my area of sensitivity but don't quite create an issue.



Next is a beautiful modern classical piece called 'Otto' by Ed Carlsen. This is quite a simple but beautiful piece, and one I would typically associate with Turii Ti. Loki definitely demonstrates a willing ability to tone down from the more energetic focus, and present this in a very captivating way. The timbre sounds very accurate and overall a very enjoyable listening experience, but I would still choose Turii Ti for a genre like this - my speciality DD for this genre, and hard to compete.



This track is another from a favourite album of 2023 - 'The Art of Levitation' by Mikkel Rev. The album is very much a nod to early 90s ambient and trance, but made with modern production capabilities which are indeed stunning. This for me is again where Loki really shines, and definitely my immediate choice of set for a genre like this. Vast swirling emotive synths, pounding off-beat kick drums that evolves over the course of just over 8 minutes. The kick drums hit with such huge authority, and you can feel and hear the vibration right in the centre of your skull, definitely BCD magic at work... the synths emanate out across the stage, and are so deliciously captivating. Again, another album I will be making a point of listening to with Loki again soon!



This one is from Pneumatic Tubes (Jesse Chandler of Midlake and Mercury Rev) and a more relaxed indie rock track. Again, very good detail and the instruments are well represented across the stage. Vocals are centre and probably in-line with the instruments. It sounds a touch too energetic for me on Loki, definitely prefer a more relaxed set for this album. It still sounds good, but just wouldn't be my choice.



On to some electro / IDM courtesy of Dron. This is a beautifully intricate track, with a fantastic playful bassline and wonderful synths. Top notch production and back to something that has perfect synergy with Loki. Not much more to say here other than further validation for me as to where Loki shines.



Comparisons

Nostalgia Audio Camelot

Camelot reigns supreme in my collection as 'top dog (or dragon... incidentally this year is the year of the dragon, my Chinese birth year!)' almost a year later. The main difference between these two is where Loki jumps forward in a more energetic way, Camelot steps back and provides a more neutral or balanced tuning - something I tend to prefer for the most part. Loki has more energy up top and bottom, and has a higher resolution from a detail retrieval perspective. Camelot is a much safer tuning, and works with absolutely any genre - Loki a bit more tempermental, but really shines with the right shelves of my library, certainly leaving Camelot behind with many sub-genres of electronic music.



Softears Turii Ti

A very different set but equally one I would consider a specialist in my collection rather than an all-rounder. Turii Ti will sound almost as if it has no bass when switching from such an incredibly competent set in this department. Where Loki is superb with faster and well produced electronic music, Turii Ti steps ahead for genres like modern classical where the timbre and overall delicacy of tuning is hard to beat.

Pictured below with my N7 which has since left me, and I definitely miss...



Conclusion

Loki, the God of Mischief has in the end perhaps lived up his name - portraying some technical wizardry while still capturing my heart. A highly competent set, with absolutely the best selection of accessories I have ever seen in this hobby, along with beautifully made IEMs and a wonderful Kinera stock cable. Loki in my opinion leans towards that more exciting, energetic profile and works best with modern and well produced music - in fact in many ways the best set I've heard for my energetic electronic library, and yet can dial down to accommodate more relaxed genres, especially those of high production quality. While Loki doesn't suit all of my library, where they excel they do so with a finesse unlike any set I've heard - that combined with the unbelievable range of accessories and spectacular quality IEMs, make it an easy 5 star review. Of course not a cheap set by any means at $3,099, but they in my opinion can easily stand tall beside sets I've heard that will cost you another $2k, albeit offering different flavours.

Kinera have stepped forward into the kilobuck category with a set that is truly worthy of competing in this competitive space, and I look forward to seeing what they bring to the table in the future - definitely a brand to admire and keep an eye on!

Disclaimer:

I don't usually review cables, this is in fact my first - reason being, I am as yet to be fully convinced as to the differences they make to sound - I appreciate a sensitive topic, but just to make it clear before I kick off! I've had one scenario where I was certain of a significant difference - that being changing the stock cable from the Penon Serial to the Hansound Nyx, the difference was incredibly obvious, especially to the mids where they went from being somewhat lifeless and pushed back, to much more 'lush' and present in the mix. That was about two years ago, and I've as yet been able to repeat with any IEM and cable - yes I've had scenarios where I 'think' something sounds different, but I can't say with certainty. I feel a lot of it is due to the time it takes to switch a cable and possibly my inability to remember what I had heard. So I guess you might wonder why the heck I bought this cable, or indeed any other cable? Read on after my next disclaimer...

Also, as I always note - I am not a 'professional' reviewer, simply a lifelong hobby/passion/addiction for music and technology. I will not deep dive into technical details, nor clearly will I talk about anything here with regards to how this cable sounds versus another. I bought this cable because it looks fantastic, and is beautifully built - plus to match with a recently purchased IEM, the Kinera Loki. This is a short review that captures what you get for your money, and a selection of photos that try to capture how stunning this cable looks. I intend to keep trying with regards to sound differences, as there are far too many people I trust in this hobby that absolutely swear by how cables can impact sound.

I purchased the cable from @MusicTeck at a reduced price in exchange for a short review. Thanks as always to Andrew for the wonderful service. The Vortex Alida has an RRP of $509 and is available from MusicTeck HERE

Unboxing

The Vortex Alida arrives in a slim rectangular box. It has a nice premium look and feel.





Inside you see the cable, Con-X accessories, case, leather cable clip and warranty card. The inner lid reminds me a bit of a mouse mat, not sure if that's intentional but I suspect it could be used as one, but have yet to try!





The cable itself has a braided finish which feels of very high quality and looks stunning in my opinion. Vortex describe the construction as follows:

Vortex has devoted immense resources to researching conductor materials and innovating cable structures. We are delighted to unveil our latest offering, the 'Alida,' which incorporates cutting-edge stranding techniques and premium materials. In pursuit of a perfectly balanced sound, the 'Alida' boasts a primary conductor of pure silver, subject to critical annealing, and finished with a layer of pure gold plating. Additionally, the hybrid shielding design features spiral and braided shields in the stranding, with a spiral shield boasting an ultra-thick silver layer on 5N LC-OFC

Click to expand...

The ConX MMCX connectors come in this separate box along with an MMCX removal tool:



I love the rugged look and feel of the 4.4mm jack - it is incredibly durable, and the discreet styling blends well in my opinion with any audio source.



The cable arrives with the 2-pin connections attached as standard. It is definitely very handy to have the option to switch to MMCX using the ConX system.



The y-splitter has the Vortex logo and again of very high quality. It does not have a neck cinch however, which is worth considering.



The cable as noted is of beautiful quality and feels very premium - I must note however that it is somewhat unwieldy and not ideal if the intended use is for true portable, i.e. out and about walking which in my opinion it is not ideal. Personally, I would not have ever intended to use a cable like this outdoors anyway - it is very much for my higher-end IEMs and for use at home.

Which brings me to the reason I chose this cable - to match with my recently purchased Kinera Loki which has a custom finish. I felt the grey of the Alida would match well with the navy shells, giving an overall premium finish.



Finally, a shot with the Lotoo Paw Gold Touch Ti.



In conclusion, the Alida is a beautiful cable and is perfect match for the Kinera Loki from an appearance and aesthetics perspective. From a sound quality perspective, maybe time will tell and I will finally understand!

Closing shot: pictured with the excellent TIMSOK TS-316

Cayin N7 Master Quality 1-Bit Digital Audio Player - $1,999​

Introductions & Caveats

I chose the above picture as I took it not long after the Cayin N7 arrived back in March. I was on a work trip to Seattle, and woke early due to jet lag, I took this picture with the Seattle skyline as the backdrop from my hotel room - what better thing to do when you can't sleep but listen to music? - It was at this point that I really started to fall for the charm of the N7's 1-bit DAC, and especially with any IEM that involves a dynamic driver in some shape or form: single DD, hybrid with a DD etc. In the case of the above, the IEM in question is the Victor / JVC FW1500, a personal favourite of mine and wonderful with the N7 in particular.

As I've noted in previous reviews, I have a serious love for consumer electronics going back as far as I can remember as a child, and ultimately forming a large part of my career up to a few years ago. One of my very first jobs as a teenager was working in an electronic store, and my career ultimately took me around the globe on the hunt for electronics to distribute in my local market - this included the wonderful heyday of the early 2000's as DAPs (or MP3 players as they were known then) were really hitting the market. I've moved to another career path in the last few years, and now get to appreciate electronics as a hobby - it was nice though once upon a time to get paid for it too...

I am not a professional reviewer, I enjoy sharing my explorations with the community and hope that they prove useful for even a select few people. The goal of this review is to give a sense of the features and benefits of the Cayin N7, and to assist those who might be considering buying one. I've owned and still own quite a few DAPs over the last number of years, these include: LPGT / LPGT Ti / LP6K / Shanling M9 + M6U / iBasso DX320X / Sony NW-WM1A + ZX300. The N7 has been in my collection now for over six months, so I've certainly had time to get to know and love it, and determine best synergy with IEMs in my collection.

I received a small discount from @MusicTeck in exchange for my review, and as always all words are my own, with no input from either MusicTeck or Cayin.

The Cayin N7 is available from MusicTeck with an RRP of $1,999 at time of publication - HERE

About Cayin (from their website)

Zhuhai Spark Electronic Equipment Co., Ltd. was founded in 1993. The company is devoted to developing best-sounding audio equipment and marketing the Hi-Fi products under the name of Cayin. Cayin's audio products carry distinctive cultural connotation and span over a very wide price range because we believe in making music accessible to all sectors. Our tube amplifiers have been particularly well-received while we have a comprehensive product collection ranging from CD players to speakers as well, all of which presenting the same high quality benchmark and attractive in price performance.

Cayin ventured into personal audio on 2013 and launched a series of Digital Audio Players (DAP) and desktop audio products. The N-series DAP products provide high-quality audio experience for the users while they are on the go, the company also released the i-series desktop audio system for liftstyle customers. Cayin also developed a series portable audio products including portable amplifers and in-ear monitors for users to explore in a wide range of choices.

Click to expand...

Specifications (overview, full spec HERE)







Unboxing & Accessories

The N7 arrives in an understated but premium looking box. I'm a fan of simplicity, and Cayin definitely delivers in that regard from a packaging perspective.





All of the contents laid out, except for the instruction manual and additional screen protectors which are in the sleeve pictured below.

In summary, you get a USB cable, a leather case (yellow which I'm not a fan of...), screen protectors, and a two balanced adapters (2.5mm and 4.4mm). A tiny nitpick, but I would have liked a branded cloth too, I always appreciated when there is one included, I'm a bit OCD about cleaning screens on my DAPs anyway...



N7 Layout

The headphone jacks and line outs are on the bottom of the device. When using a more portable / pocketable DAP, I prefer the headphone jack up top but in this case I actually prefer on the bottom as I typically have the DAP sitting on the table in front of me and as such the cable is connected facing me - easier to manage the cable and navigate the DAP when required. Note that the first picture below shows the 'royal blue' case which is available separately, and my personal preference - ideally though I'd still prefer black or grey... I'm not a very colourful person I guess!

Volume Wheel and Button Array

The controls are straightforward and easy to use. On the right side of the N7 you have the usual power on/off, play/pause, and skip forward or back. The buttons have a nice tactile feel to them and are secure and robust. The hallmark 'golden knob' on the top is again excellent quality and operates with a tactile 'click' sensation when adjusting volume up or down - it's positioned very well in that you won't easily inadvertantely adjust the volume, and again feels secure - I've had some DAPs where both the position and feeling of the volume wheel had me a tad anxious as to their longevity, looking at you Shanling M9 and iBasso DX320X.



Build Quality

The DAP is made from a sandblasted aluminium and is relatively heavy at 380g - it is also quite big, so not ideal if you plan to take it out and about but I guess that really depends on the individual... big pockets, or maybe a bag that the IEM cable can stretch to etc. Personally speaking, this is a DAP that stays at home or travels with me with the intention of using where I am staying, not one for the local work commute - with that in mind, big and heavy is good as it looks and feels premium. I actually much prefer using the DAP without a case, as it really does feel nice in the hand, something quite pleasing about the feel of sandblasted aluminium, or maybe that's just me... I often get funny looks from family members when I make statements like this!

From an ergonomic perspective, it quite easy to operate in spite of the large size but I do still need to hold in one hand, and control with the other - it's not that easy to hold and operate in one hand from my experience, unlike a smaller unit such as the Shanling M6U for example. Although my children go get a good laugh out of the fact that I can only type with one hand using my phone - unlike how a younger generation seem to have evolved to tap away frantically with the thumbs of both hands - they missed the Nokia 6110 etc era though... oh how Snakes used to pass the time.

Pictured below with what is still my favourite dynamic driver, the wonderful Turii Ti from Softears. As previously noted, the synergy with dynamic drivers is absolutely spectacular.



As mentioned, the audio connectors are all on the bottom of the unit - I've since purchased dust caps directly from Cayin on AliExpress for the mostly unused ports so as to protect my investment, and indeed they look the part, so there is that too. I've a rubber dust cover (which as you can see, attracts dust...) on the 3.5mm earphone port, I must pick up some more of the much nicer and more secure caps from Cayin.



The rear of the device is exactly what you might expect it to be, the rear of the device... Nothing really to see here, and certainly no functionality but I've included a picture none-the-less. The back panel is made of glass, and thankfully you get a screen protector pre-installed and a spare in the box. Annoyingly, mine actually had a scratch on the pre-installed screen protector so I've since used up my spare.



Probably overdue another look at that Cayin hallmark golden volume wheel... as noted and to reiterate, I love how solid it feels and the tactile sensation when you engage the volume wheel up or down - fantastic quality, and a confidence that you won't accidentally adjust due to the clever positioning - not impossible of course, but less prone to some other DAPs.



Finally, a look at the microSD slot on the left side of the N7. This is the usual push in / push out affair, which I must say typically annoys the heck out of me as I often find they don't click in to position that easily - again, this could be a me-thing, so feel free to tell me in the comments if this is actually an easy process that I'm making difficult for myself somehow! I've ended up keeping one of those tools you get with smartphones for ejecting the sim card and that makes it very easy to insert and eject - not that I do it that often anyway.



Tricky to show the size, but I do have this picture I took a few months ago with my other DAPs - two of which are no longer with me... R.I.P. P6K and DX320X, both of which I do miss - I can't keep them all, even though I would love to... anyway, the N7 sitting on the right with the Shanling M6U above, and the iBasso DX320X below.



N7 Setup

Out of the box and getting the N7 up and running is simple. You've the usual country / language process and connect to Wi-Fi - this all takes only a couple of minutes and the device is good to go. I loaded a 75% full microSD card and it took a couple of minutes to fully scan the card. Note in the picture below, this was of course early in the scanning process!

The vast majority of my listening is to local FLAC files, but occassional streaming too with Tidal - as with any Android device, you download that or indeed any other streaming service via the Play Store, login as usual and you are good to go.



Functionality Video

I'm not going to win any prizes here for my video footage but I think useful to give you a quick view on operating the N7. You will note as per my listed cons how the album art when browsing the Hiby app can be a bit laggy - it's the same with UApp and the stock Cayin player but not the case with Tidal, presumably due to the album art resolution.



How Does it Sound?

The technology behind DACs and amps is beyond my reviewer capability and rather than cut and paste the blurb from the Cayin or MusicTeck website, I'm just going to link to it for those of you that might be interesting in reading more about how it all works. It's not that I'm not interested, I just don't have the knowledge to phrase it as if I'm describing it with any level of authority! Plenty of great detail HERE - interestingly, I note sixteen 5/5 reviews there too.



Camelot
I chose this first pairing as it really does represent what I consider my current end-game setup. The Nostalgia Audio 'Camelot' pairs beautifully with the N7 - they are literally perfect together for my preferences. I mentioned in the opening of this review that I've had the N7 over six months now, and it's the same for Camelot - so I've got to know the combo very well, and indeed they have helped put the brakes on in terms of further exploration.

The Camelot is a rather neutral sounding IEM with a bit of bass boost to both sub and mid bass. It has a large soundstage and quite detailed, but not clinical or too analytical. It benefits incredibly well from the N7 analogue and somewhat meaty profile, as it injects a fantastic musicality, and further drives the already excellent bass - it adds more substance to the mids, and gives such a stunning visceral lifelike feeling to say strings, piano, or vocals - I was quite taken back when I first listened to London Grammar for example, I almost felt I could reach out and touch the vocals, as if they were literally in front of me. I find that a more neutral sounding set such as Camelot really does pair well with the relative smoothness that N7 offers, but not to the detriment of detail - it's quite unique really in how it sounds, adding extra life to already detailed and musical sounding sets, giving that sense of vibrancy and huge engagement factor.



Turii Ti
Single dynamic drivers such as the Turii Ti again sound incredible with the N7. The Turii Ti has been a favourite of mine for over a year now and I've adored the pairing with the N7 for the last six months or so. Turii Ti isn't known for it's quantity of bass, but certainly does have a wonderful quality bass - N7 again supercharges this and while of course doesn't turn the IEM into a bass-head offering, it certainly does add quite a lot of emphasis below. Again, the smooth but detailed N7 makes for a perfect source to power the Turii Ti, really ensuring you get every bit of space and detail available, played through that wonderfully addictive analogue sounding 1-Bit DAC.

I'm listening to this combination as I type, and I've actually realised again that the Turii Ti stretches beyond the shelves of my library that I typically designate it to while hooked up to the N7, i.e. modern classical, ambient, vocals etc - I can comfortably listen to and very much enjoy genres that demand more low-end too... IDM for example is a genre I don't typically associate lately with Turii Ti, yet having tested again for this review, I've actually surprised myself. The G.O.A.T. DD is fully revealing her charms to me all over again! Flip to acoustic focus music and shivers are sent right through me, again the magic formula of the 1-Bit DAC and the Turii Ti provide this stunning visceral delivery, it really is quite spectacular.



MEST MK3
For those of you who peruse the Classifieds section, you will likely have seen my listing for the UM MEST MK3 - they've been for sale now for a few weeks and not budging, which I must say has been a surprise as the 3rd of edition of MEST has been very well received, albeit maybe with a smaller audience versus the 2nd edition due to most likely to the price uplift, and lasting legacy of the 2nd. I note in my listing the fact it's a reluctant sale, and indeed it is - and even when I get the odd message asking can I ship outside the EU, or take less money etc, I'm always happy inside when the sale doesn't go ahead, and quickly go back to enjoying them with... no prizes for guessing what DAP. So why do I have them listed I hear you say? - well, I am trying very hard to have more discipline and focus more on a smaller collection of IEMs, while diverting my attention to headphones. The MEST MK3 is somewhat similar to Camelot, but not as detailed, hence the decision to move it along. However, it is actually a smoother listen and again when the N7 doing the driving, every ounce of low, mid, and high are squeezed out, giving that wonderful sense of analogue goodness from the DAC, along with a huge and detailed soundstage, with that overall visceral and lifelike presentation. I could easily classify this as another end-game combo, especially now that I've made peace (for now anyway) with the place where dimishing returns kicks in, and my reluctance to delve back into the multi kilobuck sets. I'll likely stay in this weird place of keeping the listing open, but hoping it doesn't actually sell



Conclusion

I have seen many DAPs come and go over the last almost three years - to include both those I've owned, and those I observe in my fellow-audio geek circles. I can say with certainty that the Cayin N7 is the DAP I've seen the most satisfaction with, many owners now in possession several months, and no indication of moving on as yet - this is a rare feat in the hobby, and testament to how excellent this somewhat unique DAP is. To get a balance of detail and smoothness in the way the N7 achieves, I believe is unique - DAPs are often a tad warm and maybe lack detail, or a tad bright to neutral - striking this balance is a stunning achievement, and definitely an evolution in how DAPs can perform from a sound perspective. I must admit, in a brief moment of madness a few weeks ago I actually debated selling my N7 as a means to generate cash for the Shanling M9 Plus, but upon hooking up my Camelot again, I realised the error of my ways and quickly pulled the listing - the M9 Plus is certainly a DAP I'm curious about, but will only buy now with the N7 still in my possession, just in case. It was hard to 'only' give 4.5 stars but with the few niggles I had to deduct a small amount - on sound quality alone, the N7 without question scores a full 5/5, a truly bar-raising experience.

To pick a few keywords to close that sum up the N7: analogue, visceral, detailed, musical, unique and captivating.

Unique Melody MEST MKIII Carbon Fibre Edition - $1,919 (Blue) / $2,359 (Red)



Introduction and Disclaimers

This will be my 4th IEM from Unique Melody - my introduction to the brand was MEST MKII which I bought on release in early 2021. A few months later, I purchased MEXT, and took the plunge with the mighty Mentor late last year. While I enjoyed each of them quite a lot, I no longer own any of them for various reasons - mostly due to how I play in this hobby; which often means buying / enjoying / selling... repeat. We have different objectives in this hobby and I think it's important we reflect on what is it exactly that we would like to achieve - if we don't know that, we are sort of like a ship without a captain or crew: we can just drift in various directions with no idea as to what it is we want... that can lead to FOMO, stress, financial challenges etc. I say this because it has certainly been my own experience in this hobby in recent years. Lately for me I look at it as a hobby - it complements my passion for music and technology, and I'm not looking for an elusive 'perfect' set or end-game. I really enjoy experimenting with new sets, hearing how they are tuned, how they pair with my sources, and ultimately to what extent do I enjoy them - with this comes learning, and a greater ability to seek out other sets that are likely to be enjoyable. From a discipline perspective, as money certainly doesn't grow on trees - as much as possible these days I only buy when I sell... I aim for a 'one in, one out' methodology - there are only a handful of sets that have remained in my collection that I now consider keepers. So going back to my point with regards to what it is that we actually want - there will be some who are indeed just looking for a set that they can enjoy for a long period of time, maybe a few years before even considering another, and many others at the other end of the spectrum who will seek to constantly cycle between sets in the same way I do... whichever it is you do, try set some ground rules and enjoy the process! Anyway, just thought I'd share my recent musings on this hobby!

I purchased this set at a reduced price in exchange for a review - I would like to thank @MusicTeck & @UniqueMelody for the opportunity. These are my honest thoughts, formed over the last few weeks as I've become familiar with MEST MKIII. My other disclaimer as always is to point out I am not a professional reviewer, this is my hobby, once my career, and links back as always to a lifelong passion for both music and technology, brought together in absolute harmony through this wonderful hobby. Needless to say also, we all hear differently, and while I do my best to express what I hear in a way that I hope is useful to the community, please remember your individual experiences may differ from mine for all sorts of reasons... music preferences, age, frequency tolerances, sources, etc.

The MEST MKIII is available from MusicTeck HERE

Unboxing & Accessories

I was a little underwhelmed by the unboxing experience here - certainly in comparison to previous sets... gone are the trays that slide out and reveal the goods in a similar way to high-end watches - now a more simple affair that is pretty much the standard across many IEMs. There is nothing wrong with it, but just lacks a bit of 'wow' factor for a circa $2k purchase. On a positive note in a world where sustainability is a growing consideration, it absolutely makes sense to reduce the amount of packaging, but I still feel they could improve on the overall experience.











Contents: On the one hand, it feels rather meagre, but on the other hand, you've got all you need really - I do think they could have included more tips though. The case is nice, but with the rather thick and clumsy cable, it can take a bit of effort to wrap it up and store away in the case... I'll come to the cable next, but I'm not a fan.



Cable - this was a bit of a disappointment I must say when MEST arrived. I had drooled in anticipation of the arrival of the beautiful looking red edition of MEST - I wrestled with paying extra simply for a different colour, but was honestly captivated by the lure of the sultry looking fiery-red shell and matching cable... they looked fantastic in the pictures, and to be fair still do in the flesh - but handling is a different experience. If you tend to kick back and listen while sitting, the cable is absolutely fine - bar when you go to wrap it up and feel like you are fighting off a python... maybe a tad dramatic, plus I've never actually fought a python but you get my drift. Finally, UM have been asked by a few owners why the cable is what it is, and they have responded to point out from a sound quality perspective they worked closely with PW Audio to achieve the best results, without adding too much extra to the price. Ultimately, for me I have chosen to stick with the stock cable for now as I do not tend to listen to a set like this or at this price level anywhere but in the house.

The thick and rigid nature of the cable had led to some slight kinks at various points - this is from wrapping it up to store away in the case. You can see this below near the neck cinch. I do not seeing this as being a concern for damage, but it does take away from a visual perspective.



The y-splitter denotes the chosen colour, in this case 'melon red' and notes the fact it's shielded on the opposite side.





On a positive note, I do actually like the jack - it feels sturdy, and has a nice grip to it for insertion and extraction. As per the rest of the cable, I like the look of it too. While it's not modular as has become quite popular lately, you do have the option of 3.5mm or 4.4mm on ordering.



The selection of tips isn't fantastic, but I have had a good experience using one variety of the two provided. For anyone who has owned MEST MKII, it is pretty well known that they require a good deep insertion for an optimal experience with the bone conduction driver - this being as it's requires contact for maximum effect, this of course applies to MKIII also. The 'petal' silicone tips provided do allow a good deep insertion and perfect seal for me, and in spite of testing quite a few other 3rd party choices, I have come back to these each time. I would as always encourage experimenting with tips as we all have unique ears - but certainly worth trying the stock as they've been excellent for me.



The supplied tips include a set of open and petal silicone in small, medium and large. While they feel basically the same, for some reason I could only get a secure seal using the petal variety. That concludes the selection of tips, I would like to have seen the blue/black tips that also came with MEST MKII as I found them quite good.



Finally, you do also get a mesh storage bag for the IEMs and I use this each time I'm done listening. I'm a firm believer in protecting our investments, be it to keep them in great condition for own use, protecting from both visual and functional damage but also in a like-new condition should you choose to move them on at some point. This is a decent size and very easy to store the MEST securely.



Design & Fit

While I've never tried the Indigo, these do look very similar and feel more like an evolution of that set as opposed to MEST MKII from an appearance perspective at least, we'll get on to sound later on of course! They are made from carbon fibre and feel both sturdy and smooth to touch. I find them very comfortable, and can listen for extended periods without any discomfort. The below image depicts a 3D explosion of the driver configuration and overall build.



As noted previously, I do wish they would use recessed sockets for the 2-pin cable - they tend to feel more secure, and also look better from a visual perspective. I can never understand when this decision is made. Surely the shells could either have recessed sockets, or PW could make a flat 2-pin plug to sit flush considering it's a bespoke cable?!

Pictured below with the stock 'petal' tips in large affixed.



Listening Impressions

I'm on about my fifth week of listening to MEST MKIII and have got to know them very well. Most of my time has been spent with the wonderful Cayin N7, but I've paired also with my precious LPGT Ti and Shanling M6U. While MEST isn't fussy about the source, like any IEM, some will be better than others and in my experience synergy is simply wonderful with the N7 - it injects more energy into the low-end, and provides an organic sense of warmth to the overall somewhat neutral tuned MEST, making for a very captivating listening experience with absolutely any genre. For those of you who take burn-in into consideration, these have at least 200 hours at this stage.

I'm inclined to say that while very well balanced, mids probably step ever so slightly back versus both bass and treble which both sound forward in comparison, albeit by not much.



Bass

Sub digs deep with a wonderfully visceral rumble - mid bass kicks with excellent impact and authority. As noted, the overall FR is rather well balanced so if you are looking for huge skull-shattering bass, these are not for you. However, as someone who listens to a lot of electronic music that really benefits from the low-end, I am certainly not left wanting... bass from both sub and mid should be more than enough for most. The quantity to quality ratio in my experience is excellent: when listening to instruments such as bass guitar or the lowest registers of a piano, there is an excellent sense of detail and realism - likewise with electronic music, sub bass extends to fantastic depths in support of the lowest synth keys.

Mids

Clear, distinct, and captivating are the three words that immediately jump out for me. As is often the case, there is a hint of warmth that helps to promote emotional engagement, and I would say that the note weight sits slightly on the heavier side with good body. Both male and femal vocals sound wonderful, sitting perfectly centre and when hooked up to the N7 in particular, you feel like you can almost reach out and touch them. Whether you choose acoustics, vocal, or electronic, the BAs here deliver. There is absolutely never any issues with congestion, even with the busiest of tracks - always plenty of room, speed, and clarity.

Treble

I'm a sucker for well implemented ESTs, and UM have hit the nail on the head here. In a similar way to how a well implemented dynamic driver delivers a visceral low-end sensation, ESTs can really create an ear-tickling experience in the high-range, and that is absolutely the case here. The treble is not too forward and sounds perfectly cohesive in the mix, hi-hats strike where you expect them to with excellent realism - the upper registers of strings sing beautifully, never shrill or harsh. Ten out of ten for me here, perfect EST implementation.

Technical

While these are not 'technical monsters' in the same way as a set such as Ragnar, they are certainly no slouch in this department. I would say that they lean somewhat more musical than technical in my experience, which from an all-rounder perspective is a good thing. From a macro and micro detail perspective, you are met with a solid balance and while you are not served up with microscopic details, you do get a fantastic presentation of how you might expect an instrument to be delivered. There is a large holographic stage, with wonderful imaging and layering - instruments have plenty of space and seem to sit where you would expect them to.

Tracks

I often wonder whether this section of a review is of value or not as music taste is so incredibly diverse. I try capture a few genres in the hope it's of use.

First up is is some jazz with the track 'Oneness' by Matthew Halsall. Bass, percussion, sax - all sound fantastic, I honestly can't fault anything here. There is space - there is a large area of musical presentation, with accurate timbre and both musically and technically captivating. I love the sense of air between instruments - it's cohesive, but at the same time it's easy to pinpoint a specific instrument should you choose to.



Next I've chosen one of my usual test tracks for female vocals, 'Wasting my Younger Years' by the wonderful London Grammar. Yet again, I note a sense of balance - vocals are pretty much in-line with instruments, not pushed forward or back but certainly in a central position. To quote Radiohead, everything sounds in it's right place... vocals, percussion, guitar and again with that sense of air between instruments.



Next up is a track very close to my heart, from an artist very close to my heart: 'Lush 3-1 by Orbital'. I'd need to write a thesis to emphasise how important Orbital are to me, and even at that I wouldn't be able to convey sufficiently... why? - rewind to 1994 - I was 17, and fast becoming a massive fan of electronic music. Orbital were a massive part of this, I can't begin to imagine how many times I listened to their 2nd album dubbed 'The Brown Album' in those coming-of-age years. It can be challenging to enjoy some of these older tracks that have not yet been remastered - 90s recordings showing their age, and certainly their flaws in some cases. I love that with MEST MKIII leaning more musical than technical, it can forgive older recordings misgivings, and that is absolutely the case here - I can not only play, but thoroughly enjoy a track I've known and loved for almost 30 years now - no easy feat. Simply put, this track sounds absolutely fantastic on MEST MKIII and I cannot wait to revisit the entire album soon as a result.



And now for something completely different - Monty Python anyone? I guess knowing that reference will be dependent on age and geographic location... regardless, this is a classic hip hop track, and provides MEST MKIII with another genre test use case. A Tribe Called Quest - Can I Kick It? - can MEST kick it... yes it can, flawlessly. It's actually quite amazing to play a track that's over 30 years old, yet still sounds amazing. I think UM have struck a fantastic balance in the tuning between technical and musical, too technical can result in harshness, and too musical can lack detail - no issue here, be it the low sub register to mid vocals and upper treble delivery.



Moving on to a complex and intricate electronic track by Symbolico - 'Perceiving All' does as the name suggests, and really pushes forward every last bit of minute detail but never becomes harsh. This is a track that I like to test the technical to musical capability of a set, and MEST MKIII passes with flying colours. Everything from the sub bass depth, to the highest treble register in this track sound fantastic - balanced, musical, technical - all boxes ticked.



Some more electronica, this time the spectacular 'Sex' by Djrum. I've heard this album countless times, via numerous IEMs - I could say I know it off by heart. Yet again, I can't fault it - nothing harsh, and both technically and musically catered for - MEST MKIII provides a remarkable listening experience with this complex and potentially challenging track.



Comparisons

MEST MKII

Andrew from MusicTeck provided me a loan unit so I could test versus MKIII. While I have some recollections of the 2nd edition of MEST, it's far too long ago to recall sufficiently in this review. I've been curious for quite a while what a revisit to this set might entail, especially with a new selection of sources to reach for. The difference is huge - they sound nothing like each other, except maybe for how the sub extends. MKIII improves everything to my ears, and absolutely justifies the step up in price. When I switch from MKII to MKIII, I hear significantly more competent mids - more visceral, improved & somewhat relaxed treble, and overall a better balance of technical and musical engagement. That's not to say MKII sound 'bad' - I'm actually quite impressed revisiting, but the 3rd iteration to my ears are a big step up in every way - I can hear how those who might have a treble sensitivity had problems with MKII - this should not be the case with MKIII. I'm actually enjoying a revisit to MKII, but MKIII are without question a huge step foward.

Camelot

This is still my top choice IEM - it leans a bit brighter, and more technical versus MEST MKIII yet still wonderfully captivating. They are quite similar in many ways, both quite neutral and with the exception of the BCD in MEST, more or less the same driver config in terms of DD / BA / EST for low, mid and high. If I were to capture a scale of musical to technical on a graph, with zero being most technical, and ten being most musical, I would plot Camelot around 4, and MEST around 8. They are both highly competent all-rounders, with excellent balance across the FR - Camelot is that bit brighter, and that bit more resolving... the 2nd DD in Camelot for low-end is also evident where there is more distinction between low and mid bass.

Ragnar (from memory)

I had Ragnar on loan for a while from a generous Head-Fi member (@Eoin) and I was incredibly impressed. I would say the most detailed and precise set I have heard on my IEM journey... they literally take everything with a microscope, providing the most detailed musical experience imaginable. On the negative side, I found some upper mid glare issues at times, which for me ruled out a purchase.

Conclusion

While I never tried the first iteration of MEST, I certainly heard very good things about them and some even preferred to MKII. My original experience of MKII was hit and miss, and I eventually sold them having found they were more miss than hit. MEST MKIII absolutely hit the mark for me, and I would go as far as to say they are my favourite from UM so far, even ahead of the formidable Mentor - now before the pitchforks come out, I'm not saying they are better, but I had some issues with upper mid peaks on Mentor which led me to ultimately sell... I've zero areas of challenge with MEST MKIII - that's not to say they are perfect, but I cannot tolerate any FR challenges that disrupt my listening experience, it's the first thing that will result in me parting with a set. MEXT are a fun sounding and excellent set, but I had problems with fit as they were quite big, so they had to go too.

Engaging, exciting, entertaining, but well balanced, a simply excellent IEM - UM hit a slam dunk with the 3rd iteration of MEST… I'm loving every minute I spend with this fantastic set, regardless of genre, and certainly from my perspective, absolutely 3rd time is indeed a charm.

Nostalgia Audio Camelot - $2,599 (tribrid)

Introduction & Disclaimers

For those of you who may not know, Camelot is a legendary and mythical Castle which dates back to as early as 12th century literature and is centred around the wonderful story of King Arthur and the Knights of the Round table - I've no doubt the story evolved in various ways thoughout the years, and it includes everything from knights in shining armour to witches and fire-breathing dragons... oh and of course the wonderful wizard named Merlin. I have very fond memories of watching the 1981 movie 'Excalibur' which was based on this story countless times with my brothers when we were children.

A lot of my IEM journey has centred around single dynamic drivers, and I've often found multi-drivers just haven't ticked all the boxes for me - or indeed in the case of the kilobuck sets, they ticked most but not enough to justify the high cost. This has changed recently with first of all the Custom Art Fibae 5 that I reviewed just a couple of weeks ago, a spectacular hyrbid that truly represents incredible value before stepping up to the much higher cost sets. Camelot is over twice the price of the Fibae 5, but still as much as 50% cheaper compared to many of the top-tier sets on the market - many of which I've had the luxury of trying, be it on loan thanks to generous members of this community, or indeed those that I purchased myself: these include the infamous Traillii, the briefly famous Jewel, the wonderful KR5 and XE6 from Fir Audio, and the technical powerhouse that is Ragnar from Noble Audio. I've tended to lean towards single DDs due to an overall preference for how they sound, and having built a collection that cater for various segments of my audio library which is quite diverse, and I rarely find a single set that can cover it all and do a good or even great job.

I had considered buying Camelot late last year - the few impressions and reviews out there were all incredibly positive, I don't think I read a bad word about them. I was hesitant however due to my difficulty generally with larger shells. We all know how the price of a brand-new IEM is like driving a new car off the forecourt, the price plummets rather sharply. This set was arranged via @MusicTeck and Nostalgia Audio for me to audition and review - as always, with no input, payment, private jets, speed boats or luxury holidays in return. I would like to thank them both for their trust in me, and of course delighted to have the opportunity. Camelot is available HERE from MusicTeck



My other disclaimer as always is to point out I am not a professional reviewer, this is my hobby, once my career, and links back as always to a lifelong passion for both music and technology, brought together in absolute harmony through this wonderful hobby. Needless to say also, we all hear differently, and while I do my best to express what I hear in a way that I hope is useful to the community, please remember your individual experiences may differ from mine for all sorts of reasons... music preferences, age, frequency tolerances, sources, etc etc etc... so buckle up, and sharpen your swords as we march on in to this review... (I'll try hold back on too many kings, and knight related puns...)

So who are Nostalgia Audio? - Not one I had heard of before anyway up until late 2022, and rather than type it all up, I borrowed a snip from their 'about us' on their website. A relatively new brand based in Hong Kong, with an appetite it seems to offer more value for audiophiles hard-earned cash.




Specifications

• 10 Individual Drivers, Tribrid Design
• 2 Dynamic Drivers - Sub-Bass, Bass
• 4 Balanced Armature Drivers - 2 Mid, 2 High
• 4 Electrostatic Drivers - 4 Ultra-High
• 5-Way Crossover Design
• Extreme Bass System
• Spiral Flow Device
• Impedance: 13 Ohms @ 1kHz
• Frequency Response: 15 Hz - 40kHz
• Sensitivity: 114dB @ 1kHz, 1mW
• Bespoke Avalon High Purity OFC and OCC Copper Cable, Multiple Strand Design

Unboxing & Accessories

Let me start by saying I must say Nostalgia Audio certainly do have fantastic attention to detail in their branding. I only really fully noticed this when I was taking photos recently for this review, and will point out what I mean as we proceed with the unboxing.

The outer box artwork is as one might expect around the theme of Camelot, with a castle nestled in a medieval looking setting, surrounded by trees and with of course the famous sword lodged in a stone.... ultimately extracted by Sir Lancelot, or at least Lancelot at that point, soon to be knighted thereafter by King Arthur.



The flipside of the outer box includes a blurb about the story behind Camelot. Probably a bit small for people to read here, especially if on a phone - but you get the jist already.



Upon removal of the outer sleeve, we are greeted with an embossed logo which was tricky to capture in the photo, but it has a nice shine to it in the right light and has a really premium finish, as does the cardboard material used in this inner packaging.



Sliding off this inner section then reveals the IEMs themselves, and some further impressive artwork showing a 3D impression of the IEMs.



Under this final sleeve, we then see the puck style / faux leather case, IEMs, and a selection of tips, notably including the excellent (in my opinion) Symbio W in small, medium, and large - plus the same in what I assume are a stock branded tip, fairly typical silicone style. I like how the tips are in a metal tray, not entirely unique but equally you do see quite a few that arrive in a bag, and this is just one example of the branding attention to detail - along with the logo and brand name on the tray.



All of the contents laid out:

1. A shell mesh protection bag
2. Leather cable organiser
3. Tray plus tips
4. Case
5. IEM brush cleaner
6. Packet of Dekoni 'Bulletz' foam tips, just medium size
7. Cable, and of course the IEMs

Just to highlight again here the attention to detail - the cable organiser, mesh pouch, and tip tray all have the Nostalgia Audio branding. One could argue 'no big deal', but I really respect this extra mile from a branding perspective, and for me demonstrates the passion and pride from the brand.



The case appears to be faux-leather, and is a good size to store the IEMs in the mesh along with the cable. I've found some of these mesh bags almost useless in the past where the shells don't fit, or indeed they fit, but struggle then to house in the case along with the cable. Yet again, we have nice branding on the exterior of the case.





The 'Avalon' stock cable is of high quality, with a nice material exterior which is comfortable to wear and reasonably low microphonics. Just a quick note here while I think of it - when Camelot arrived, there was a lot of static noise upon insertion to my DAPs - I thought I might need a replacement, but it went away after twisting the jack in a socket gently a few times.



The cable comes as default with a 4.4mm balanced connection.



Design & Fit

The shells are quite big, and normally speaking this size would be a huge problem for me. They are certainly not perfect, and I do need to take a break after maybe 60 minutes or so as they can become slightly uncomfortable, but thankfully not painful as has been the case with some other sets. I've tried quite a few tips and as always these do of course make a significant difference to both comfort and sound performance - I've recently landed on Tanchjim T300, a go-to tip for quite a few sets over the last couple of years, and they work their magic again here in terms of fit and without any negative impact to sound. The shells are 3D printed resin, and feel very robust but still reasonably light. Thankfully also they have recessed 2-pin sockets, I really can't understand when that's not the case - it makes a huge difference in feeling the cables are securely plugged in.





Listening Impressions

I've had Camelot for about 5 weeks now so a lot of time to get to know them. Sources have been quite varied to include Shanling M6U, Cayin N7, and LPGT Ti - in summary, they all sound excellent in various ways, but I would probably lean towards N7 first, followed by M6U as Camelot in my experience benefits from the analogue wonders of the N7, or that Shanling hint of warmth from M6U - that is absolutely not to say LPGT Ti doesn't pair well, it indeed does, but with an emphasis on that clear, neutral sound - an injection of analogue or warmth works really well, especially for longer sessions.



Overall it has a clear somewhat neutral signature with a big stage, great detail retrieval, imaging and layering - but still wonderfully coherent. While it’s very technically competent, it’s not at all clinical - nice deep sub bass, impactful mid bass with fantastic distinction between them due to 2x DDs. Mids are clear and with a good amount of body, very nice treble from the ESTs which give just the right amount of zing without being harsh - a nice sweet spot for me, which I find very visceral and addictive. Again, incredibly cohesive considering how many drivers are packed into these shells.



Bass
While it's boosted, it never sounds boomy or overpowering - it complements the generally neutral profile of the tuning with excellent control and definition, and I hear that as being due to how they've integrated the two dynamic drivers for sub and mid bass. The dedicated driver for sub often gives that sense of a separate sub-woofer and crucially, with plenty of space between mid bass as noted, this is really key to ensure we can enjoy the sensation of both elements of the low frequencies, utilized in various ways depending on the track requirements. Genres such as techno with a good solid kick drum are captured perfectly, the mid bass kicks with spectacular authority and to my ears recovers as quickly as the track demands - sounding snappy as needed, or stretching out that bit longer, even indeed to deeper registers into the sub realms.

Mids
There’s clearly a large space on stage for mids to occupy by way of the 4 BAs. First of all, and very importantly for subjective reasons, there are no upper mid peaks which often become glaring for me. I would say neutral and clear with plenty of detail and space is a reasonable way to describe the overall midrange. There is the needed touch of warmth injected to ensure sufficiently emotive and not too dry, but balanced well with clarity and the ability to handle any compexity with absolute ease. Both male and female vocals are rendered perfectly, and instrument timbre sounds absolutely wonderful in anything from strings to synths.

Highs
This in my opinion is EST treble implemented to perfection: it has zing, pizazz, bite, energy, air and never too sharp or piercing. I often stop and smile in acknowledgment of the visceral sensation achieved in the delivery of elements of my music in these upper realms. Also, there is excellent cohesion, it never sounds pushed too far or separate from the rest of the FR. I’ve realised I’m quite a sucker for treble, which has made me quite fussy too - I give Camelot a solid 5/5 here.

Technical
If you are after a set with a large, 3D holographic soundstage with distinct/pinpoint imaging, and as many layers as the music dictates, Camelot will deliver - and it will do it in a cohesive, highly engaging, and musical manner. This has consistently amazed me over the last few weeks - so many sets lean a bit too technical and become a little tiring, while others might lean too much towards musicality, leaving us craving some more details - Camelot hits a jackpot sweet spot (bit of a mouthfull, but you get the message!).



Test Tracks
I've chosen a small selection to highlight here as already noted, Camelot is competent with any genre I've tested, and I've tested far and wide in the last few weeks.

First up is 'Full Moon (Clean Mix) by Zen Baboon, a beatless track with beautiful melodic synths that radiate outwards across the 3D stage - hugely captivating and visceral, we are mostly sitting in the mids with this track and you are not left wanting for that important emotive factor in a track like this, nothing is dry or clinical. I adore this track, and have heard it on so many sets, and this is without a doubt up there with the very best.



Next up is the beautiful piano piece 'Eden' by Hania Rani. Wonderful timbre, wonderful spaciousness, and a delightful sense of moving through the frequency ranges from lows to highs, all captured with great distinction. I've mentioned a few times how clarity is a theme with Camelot, and this is again absolutely evident here - such as a sense of space even between the piano key strikes, really hair-raising stuff.



Something a bit more upbeat now with 'Asphyxiated' by Manfred Hamil. I'd probably class this as deep house, and it has a nice simple percussive element along with numerous supporting syths, with some basic lyrics scattered here and there. Again, I really couldn't ask for better - we have that clarity, that emotion, and incredible spaciousness for each and every element.



And now for something completely different, as Monty Python used to say. This could blow your head off - it is a huge test for any IEM, complex and crazy fast percussion, with all sorts of other noises firing about the place - it really is hard to imagine a better track for testing the speed of a set, and the ability to not sound harsh. If you are feeling brave and decide to give this track a whirl, do so with your most capable set in dealing with speed and complexity. Oh and I nearly forgot, Camelot passed this hard test with ease.



Some vocals now with Japanese Breakfast. This is a go-to for me with female vocals, as I get a good mix also of at times busy instrument passages - testing a set for all sorts of attributes. This is one of these moments when I just want to stop listening for the sake of a review, and sit back to enjoy the music. It's wonderful to hear such lifelike percussion, beautiful deep bass, and lovely visceral vocals which sit beautifully right in the middle of the mix.

https://michellezauner.bandcamp.com/track/diving-woman

Finally, a gorgeous chilled jazz workout from the brilliant Matthew Halsall. Yet again the clarity and huge stage jump out, all of the instruments so wonderfully distinct as individual components, yet all still part of a cohesive presentation. When the double bass rolls in, it literally puts shivers through me, and when the sax joins, I'm back as above where I just want to quit the review, kick back with a glass of wine and immerse myself in the music.



Comparisons

These are very short and quick comparisons based on my memory of a few sets.

Traillii - smoother, but less engaging or exciting and far less clarity and air. Easily complementary sets, especially with the DD bass (one for each sub and mid remember...) in Camelot. I did find always with Traillii that I had to allow dedicated time to fully appreciate, I needed to be in the right zone - which ultimately was part of the reason I sold the bird, too much money invested in a part-time set - plus I had issues with pressure due to the lack of vents.

Jewel - I think Jewel leans more towards technical than it does emotive, where Camelot dials it back a bit in the other direction. Again, one could happily own both to serve slightly different purposes. I recall with Jewel I did sometimes get a bit of upper-mid glare, and Camelot definitely digs deeper on the low end. I'd love to compare both again though, it has been a while since I owned Jewel.

Turii Ti - a much more relaxed presentation and while highly competent from a technical perspective as a single DD, it definitely can't compete with Camelot in that regard. Again from a bass perspective it won't stand a chance either. Yet again, I could happily exist with both, and Turii Ti still has the edge here when focusing on some modern classical and ambient albums.



Conclusion
'All-rounder' often suggests a set does any genre and does a pretty good job - but maybe not as good as a specialist set for a specific genre. Camelot almost bucks this trend for me, managing to allow any genre I’ve tried sound fantastic - this is truly a set worthy of an ‘end game’ tag, and without costing a royal sum in comparison to the existing top tier sets. To be clear though, that's not to say I don't still have 'specialist' sets that do a better job for specific genres - that is absolutely the case, but with far less of a gap than I've encountered so far. I have typically found a 'deal-breaker' element with sets twice the price of Camelot in some shape or form, often the dreaded upper-mids issue - from a sound quality perspective, I honestly cannot fault these - they meet all of my requirements, and are without a doubt my top choice to reach for out of my entire collection over the last few weeks, making them a firm number 1 in my collection, above my usual choice of single DDs.

Ironically, but not intentionally, I conclude this review on the day of the coronation of King Charles the III in England - while I've zero interest in the monarchy, I will say that in my experience, the Camelot is indeed fit for a King, and Charles would surely enjoy them - who knows, maybe he's sitting back in Buckingham Palace as I type, chilling with a few tunes

In my opinion, Nostalgia Audio have achieved what they set out to do in offering top-tier quality for a far more attractive price point, offering fantastic value in this wonderful set. The attention to detail is evident in every way with Camelot, right from small touches from a branding perspective, all the way to the excellent execution of tuning. This set deserves more attention, and I do hope others have the opportunity to try.



I received the 'Lancelot' cable about a week ago, and will post separate impressions of this cable in the coming week or so...

Shanling M6 Ultra - Put your foot to the floor with this powerful but compact DAP... $919



Introduction & Caveats

I don't often review DAPs, the previous was actually the excellent Lotoo Paw 6000 last summer, and before that the @Shanling M9. I adore DAPs, and could easily own numerous if money weren't a consideration - this is rooted in my love for consumer electronics, dating back all the way to 1987 when I bought my first Walkman in Singapore when I was about 11 years old. I was visiting my uncle at the time with my Mum and brother, and during the stay I also drooled over his Denon separates and Kef speakers - that was the time I really remember falling in love with consumer electronics, music dates back to my most distant memories as a toddler, most notably Supertramp, Abba and Planxty (a traditional Irish band). I eventually went on to work in the industry, first of all in my teens in an electronic store and ultimately working with brands and distributors - sadly no longer the case, as I changed to another industry about ten years ago, but the passion lives on in this hobby!

I am not a professional reviewer, I enjoy sharing my explorations with the community and hope that they prove useful for even a select few people! The goal of this short review is to give a sense of the features of the M6 Ultra (M6U), and to assist those who might be considering buying one.

I own a few DAPs at present aside from the M6U: Cayin N7, LPGT Ti, LP6K, iBasso DX320X, Sony WM1A, Sony ZX300, Shanling M0 Pro, and Aune M1p (maybe I own too many). My collection prior to that, many of which still in a box include various players dating back to the early 00s, the dawn of the digital age of audio devices, where they were once called 'MP3 players', before simply 'iPods', and now a bit of a u-turn to a more generic 'digital audio player', or DAP for short - at least for those of us in this hobby, I suspect 99% of the world population has no idea they exist, and would likely think we are mad...

Before we get stuck in: I received a small discount in exchange for sharing my impressions, thanks as always to @MusicTeck for their amazing service for the audio community. The M6U is available from MusicTeck HERE



About Shanling (tldr; they've been around a while, and clearly know how to make great audio products)

Founded in 1988, Shanling began to develop audio products and launched their first Hi-Fi stereo amplifier in the same year.

Shanling has launched new products every year since then and has obtained a series of patented technology qualifications, such as SONY LDAC, Bluetooth BQB, Japanese Audio Association Hi-Res, Microsoft's HDCD, Dolby Laboratories' Dolby Digital, DTS and DVD, SACD, CD patent licenses and many more.

For over 30 years, Shanling’s employees kept integrity, innovation, team spirit and hard work in mind. There is no doubt that our employees are our treasure and that without them, we would never get to the Shanling of today. We believe customer’s satisfaction and quality of products are the highest priorities, the realization of user’s dream and sharing profit with our partners are our development power.

Today, main offices of Shanling are located in Shenzhen and factory is in Dongguang. Shanling is a high-tech company combining R&D, production, processing and sales of products, including Hi-Res portable music players, portable amplifiers, Hi-Fi headphones, SACD/CD players, Hi-Fi amplifiers, power conditioners and many other Hi-Fi products. We have established close relationship with many international top hi-end manufacturers and enjoy a good reputation in the industry.

Click to expand...

Specifications

• Dimensions – 127 x 77 x 18 mm
• Weight – 263g
• Display – 5-Inch 1920 * 1080
• Operating System – Open Android 10
• CPU – Qualcomm Snapdragon 665
• Memory – Ram 4GB, ROM 64GB + single Micro SD card slot
• Hi-Res support – 32/768 & DSD512 & MQA 16X
• Bluetooth – Bluetooth 5.0, Transmitter: LDAC, aptX HD, aptX, SBC // Receiver: LDAC, SBC
• Wi-Fi – 2.4G/5G, supporting DLNA, Airplay
• DAC – 4x AKM AK4493SEQ
• Analog Circuit – OPA1612 + OPA2211 + LTA8092 + BUF634A
• Output Power – Single-ended 240 mW@32Ohm // 720mW@32Ohm Balanced
• Output – 3.5mm single ended and 4.4mm balanced
• Output impedance - Less than 1 Ohm on both outputs
• Battery – 5650 mAh, supporting 18W QC3.0
• Battery life – Up to 13.5 hours in single ended and 9 hours in balanced

Unboxing

As noted in most of my reviews, I'm a self-confessed nerd/unboxing freak - it's quite a peak moment in the dopamine cycle of hits when making a purchase, for those of you fellow-sufferers, you will likely know what I mean... that moment just after the ring/knock on the door, and you've opened the outer packaging, and the beautiful shiny box of your new toy is awaiting to greet you. I'll not bore you with the moments that come before and after, but we all know that frantic refreshing of the tracking status - and indeed in some cases imaginary or 'phantom' vans pulling up outside your house... until the real one actually arrives. Or maybe we don't all suffer with this predicament, but I know a few of you who do anyway.

Ok sorry, unboxing... getting a bit carried away there.

Aforementioned shiny box first (Shiny Happy People...)



The lid opens to reveal the wonders within...



The M6U and a separate box of accessories, albeit not very much - and indeed as noted, no case which is a bit frustrating at this price. Side but relevant note, I bought a case from the official Shanling store on AliExpress for about $45.



All of the contents - basically all you need with the exception of a case. On the plus side (which also has a small negative), it does arrive with a screen protector already attached - I have a serious problem with putting these on, so always pleased when already done. Plus you get a spare, and of course a cable...



The Device...

I will start by saying the pictures don't really do full justice for the M6U - it is in my opinion a beautiful looking DAP, that has a real premium design and overall finish. It strikes me as something the likes of Panasonic or Aiwa from the good old days might have made if they remained in this industry, or indeed remained in business in the case of Aiwa (some of you might be too young to remember this brand, but they were certainly big in audio back in the 90s).

I chose the black finish, but it is also available in green - they both look great, but being from Ireland, I didn't want a green DAP - we have enough green around us. Plus I really liked the blend of a black DAP and tan case.

The M6U has a good weight to it, and a nice ergonomic grip - as soon as you pick it up, you feel like you've a premium device in your hand.



Left-side profile: buttons to play, pause, and skip forward and back - easy access, and simple to use.



Right side profile: volume wheel. This feels sturdy and has a nice tactile/click response when adjusting. I found the wheel on the M9 felt a bit loose and often wondered if it might eventually pop off, unlikely but it certainly crossed my mind - not so much that it kept me awake at night.



The earphone sockets are on the top of the device, with 4.4mm balanced to the left, and 3.5mm single ended to the right. I much prefer this to the modular system on the M9, which frankly speaking I found an utter pain the ass after a while.





The rear of the device is eh, the rear of the device I guess - not much to say here, other than it follows everything else in that it has a slick finish, with a nice Shanling logo embedded at the top.



Finally, the bottom of M6U houses the USB charger input and microSD card slot.



For a bit of a size comparison, I've laid out the (from right to left) the P6K, M6U, and DX320X. The M6U is pocketable, but not ultra-pocketable - it's relatively compact, and there is reasonable weight (263g) so you feel it if in say a light jacket pocket. I think it's perfectly ok to take out and about, but a lot of that depends on your clothing and climate - probably not overly practical if say just shorts and t-shirts! I've often had it out and about in an inside jacket pocket and it has been fine, hardly noticed it there.



Functionality

I must say, the M6U is a dream to use - it's super quick, and with the nice ergonomic design you can easily hold and navigate in one hand. The Snapdragon 665 CPU and Android 10 really do give an incredibly fast user navigation experience, with pretty much no lag as you scroll through albums and move about the device in general. To best get this across, I've uploaded a short video - I'm no movie director, but this should get across more than words can do in terms of how responsive the device is.



How does it sound?

I've paired the M6U with numerous IEMs over the last few weeks, and it has travelled with me to the office on a regular basis, plus flew across the Atlantic ocean and over to the far side of the US on a trip to Seattle. So I've got to know and love this device pretty well. It has more than enough power to drive any IEM, which of course goes without saying - but I've had the pleasure also of hooking up some headphones and found the M6U well able to drive them... this being the Denon D9200, JVC SW01, and the Sennheiser HD660S2.

As I type, I'm listening to the Nostalgia Audio 'Camelot' - my favourite IEM at the moment, and the subject of my next review in a couple of weeks. The Camelot has quite a balanced and detailed signature, which provides quite a lot of detail but without being clinical. That said, it definitely benefits from a slightly warmer source that leans a bit more relaxed. Synergy here is fantastic, the lows are given a nice boost and no shortage of space on stage to reveal the details, still managed within the safety of that bit of smoothness or warmth. Mids are well rendered with plenty of space and detail, and ample sparkle up top - all features anyway of this set, but synergy definitely key.

I tried Camelot recently with the iBasso DX320X and found in some cases it leaned a bit too harsh or aggressive - this IEM is definitely better in my experience with a smoother or at least somewhat neutral source. My favourite pairing at the moment is the Cayin N7, but M6U is a close second.




The Custom Art Fibae 5 pairs wonderfully with the M6U - as noted in my recent review of the Fibae 5, this pair could easily be a walk-away combo for in the region of $2k if you felt inclined to grab two wonderful items of audiophile delight, and not climb much further into the realms of diminishing returns - for this money anyone but the most die-hard audiophiles should more than enjoy absolutely any genre of music, in absolutely any listening scenario for many years to come. Again as noted in my Fibae 5 review, if I had to walk away from this hobby with $2k worth of equipment (hopefully this doesn't happen!), I would choose this combo.



Conclusion

Overall, I would describe M6U as a competent mid-tier DAP that absolutely offers more than the price might suggest. The sound is smooth but detailed, and has ample power to drive certainly any IEM, and all but the most demanding headphones. You have detail, you have nice depth and power in the bass, you have smooth mids, and great extension up top - all wrapped up in what I would describe as a 'tepid' signature: i.e. a slight warmth, but not too much so - it's enough to prevent a signature from being cold or clinical, but still allowing plenty of detail and emphasising the qualities of IEMs at any end of the price spectrum. It's fast, beautifully built, and sounds absolutely wonderful - how can I not award it a full 5 stars? I was aware of the wonderul praise this DAP had received before I took the plunge myself, and was delighted to find that my money was well spent. Clearly, the M6U comes with my highest recommendation.

Custom Art 'Fibae 5' - $1,099



Introduction & Caveats

As always, I like to note that I am not a professional reviewer - this is my hobby, and I enjoy trying out various sets and sharing my thoughts. I often get a discount in exchange, but this in no way influences the content of my review - I choose the sets I am keen to try, and this typically means I've done a fair bit of research before pulling the trigger, getting a good sense as to whether it will be a set I will likely enjoy - and for the most part, this has been the case... hence my positive ratings. Some last longer than others, there are only so many I can afford or have the time to hold on to, and part of the enjoyment for me is testing various sets and determining how they compare to my existing collection.

I would like to thank @MusicTeck as always for the opportunity and their industry-leading customer service - an absolute pleasure to deal with.

The Fibae 5 retails for $1,099 and is available from MusicTeck HERE

Custom Art as far as I understand started out as a DIY brand, and are based in Warsaw, Poland. I've heard great things about the Fibae 7 over the last year or so, and indeed fantastic praise lauded upon the subject of this review, the Fibae 5 (F5 for the rest of this review) when it hit the streets a few months ago.



Specifications

• Single 10mm Dynamic Driver Sub-Low, Dual BA Mid, Single Planar High, Single Planar Super High
• Flat Impedance technology
• Pressure Optimizing Design
• 3D-printed waveguide
• 109 dB @1kHz @0.1V
• 10 Ohm @1kHz (+-2 Ohm 10Hz-20kHz)
• 10Hz-21000Hz (+-10dB into IEC 60318-4 coupler)

Unboxing & Accessories

I was a bit underwhelmed by the unboxing experience and accessories, but to be fair it is a nitpick as I noted in the 'cons' above. I still feel it's fair to call it out, just as I call it out as something to praise when applicable. DUNU are a brand that always spring to mind when I think of a premium and bar-raising unboxing experience, and I do love a good unboxing experience... even though it's quite fleeting, and ultimately what matters is the product - as such, I certainly wouldn't deduct even half a star here.

As always in Ireland, it started to rain as I commenced my outdoor photo shoot - see the first few drops below!





Cable
I've read some reports of people receiving a 3.5mm cable, and indeed my understanding was to expect the same - however I was pleasantly surprised to find a 4.4mm termination when it arrived. The cable is nice and soft, pliable and with very little microphonics - it's one I can use with ease in any listening scenario, be that in bed or out walking.



Case
The case is a bit too big and cumbersome for my liking - I much prefer something small and durable that I can pop in my backpack when going to the office etc. This is a tad too large for general portability in my opinion, but I guess that depends on the individual and their needs. On the flipside, the extra space does mean plenty of storage for tips or indeed an additional cable etc. Regardless of size preference, this is a nicely made case and will certainly offer protection for the contents.



Tips
There are a selection of tips included, however I don't have them to hand to include photos of - plus I've not used them to comment, I always reach for 3rd party tips in my collection and rarely if ever use stock IEM tips.

Design & Fit

I think they look and feel a little less than the price point might suggest. However, the fact they are light and very small means fantastic comfort, and I will take that over style any day - I've been through too many sets that eventually hurt my ears, and absolutely not the case with F5 - up there with the best comfort I've had with any set. In addition, they feel durable and I'm never anxious about damaging them. I'm now using a much smaller case I had spare, and they fold up very nicely and I can even fit in my jacket or jeans pocket with ease. When in my ears, I can hardly feel them - so light, and so comfortable - absolutely top marks here.

I couldn't resist using a shell to sit the IEM 'shell' on top of for these shots, giving a bit of a sense as to the overall shape and design. Please forgive this absolutely cheesy play on shells



The 2-pin cable terminates to a flush 2-pin receiver, I personally prefer recessed as they simply feel more secure. There is a vent located beside the 2-pin connectors, and I must note I've not experiened any dreaded pressure build with F5.



Listening Impressions

I've been a bit of a burn-in sceptic - I find it hard to get my head around how such tiny components can change due to an electrical current running through them over a period of time, it just doesn't seem logical. However, nor do many things on this earth! So I've come to a place where I just keep an open mind and whether it's brain or driver(s) burning in, I certainly note significant differences at times with various sets, and possibly the most with F5 over the last few weeks since they first arrived - another reason why I like to wait a good month before attempting to write a review. I've clocked up many hours with F5 now, especially over the last two weeks as they were a set I took with me on a 1-week trip abroad, and I listened pretty much every day, along with for a couple of hours on the 10-hour flight over and back. I honestly thought they were reasonably good when they arrived, but I was a bit underwhelmed, especially given the high praise and somewhat sense of scarcity due to the demand. Roll on a couple of weeks, and my position changed significantly - to the point where (hype alert!!!) I stated in the Watercooler a couple of weeks ago that the F5 and Shanling M6U (the subject of my next review) could make for a highly formidable endgame combo... that's of course if we all had more discipline, and curiousity and temptation didn't lure us towards more new shiny toys. However, I do maintain a firm position that for around $2k, the Shanling M6U and F5 do indeed make for a potent combination before the slippery slope of diminishing returns - and I would absolutely choose them if I had to walk away from this hobby right now with the equivalent of a $2k budget (shock / horror, and it's not even a single DD!)... (end hype!)

The vast majority of my listening has been with the aformentioned Shanling M6U, and some time lately also with the Cayin N7.

This shot was taken earlier today, when the weather was quite nice!



Bass

While these are no bass monsters, I think most other than absolute die-hard bass-heads should be absolutely satisfied with what's on offer here. There is a stronger emphasis on sub-bass than there is mid-bass, and that sub digs down to an excellent depth with incredibly satisfying rumble, extended decay, and visceral texture. Mid-bass has decent impact, but leans somewhat soft in that I wouldn't describe as having a powerful thud. Timbre is very good with a nice sense of realism from bass guitars for example, and the lowest registers on synths extend with a lovely spine-tingling sensation. There is no sense of bass bleed into the mids, the drivers are very well implemented with excellent separation yet still cohesive in overall delivery.

Mids

The mids are smooth, and soft - I would say they take a small step back in comparison to both bass and treble, but certainly not in a 'scooped' or heavily v-shaped manner. Vocals and instruments sitting in the midrange have a touch or warmth, but are also somewhat light in delivery - i.e. they are not hugely full-bodied or heavy, leaning more towards clarity. Timbre is very good, I've not been left wanting even with my more demanding genres such as modern classical, where I typically seek the most authenticity from say strings or piano: but let's not get carried away here either, I've heard 'better' for these genres, but at a significantly higher cost... F5 does incredibly well here in again what I would consider a challenging task. I've come to discover lately that upper-mids can be a problem for me at times - it's the most risky zone that can make or break an IEM for me, and something I just can't tolerate as a subjective 'flaw'. F5 thankfully does not fall into this trap, and I've had no glaring peaks eating into my brain. There is no issue with more complex tracks, F5 handles multiple instruments with ease.

Treble

While upper-mids can be an issue, I do like a good 'zing' or bite with decent extension up top - the sense of air, clarity, and support to the overall delivery of details with well implemented treble is key, and with F5 I'm certainly not short-changed here at all. I'll come to it in more detail with test tracks later on, but the upper registers sit on the fine line of a sweet spot before they might lean harsh - now bear in mind, this could in part be due to my own levels of treble tolerance, I'm on the wrong side of my 40's, and I assume at this point my hearing not likely what it once was, so worth taking into consideration for those of you with less decades on the clock, and possibly a lower treble tolerance. The planars have a lovely crisp, precise delivery with again that sense of realism which is delivered with excellent cohesion - it's interesting to note a planar for both lower and upper treble, and indeed the fact that the tuning process can be tweaked to a far greater degree than in my usual favourite tranducer, the single DD.

Technical

These are by no means a technical monster, I would say they are more a musical set that are simply easy to become totally engrossed in the music. That said, they are certainly capable when it comes to staging, layering, and imaging in a reasonably large stage - not groundbreaking, nor 3D as such but I can hear instruments spread with pretty good width, depth and height. Crucially, with three different types of drivers, they present with excellent cohesion. Tracks with numerous instruments are all easy to pinpoint, and all blend nicely - this is a reasonably resolving set, but again nothing groundbreaking and the emphasis I would say is the overall engagement factor, you won't be distracted looking to pinpoint specific elements of a track.



Test Tracks

Elliot Smith - Pictures of Me (Male vocals, indie)


One of my favourite songs by Elliot Smith and very special memories of when I first started listening to the album 'Either/Or' about ten years ago when my kids were still quite young - I was driving one sunny summer evening to collect food along with daughter, and we both sang this at the top of our voices in the car! - anyone with young kids reading this, please introduce music to them as early as you can, they'll thank you for it later, plus it makes for many special moments together as a family.

Anyway, 'Pictures of Me' sounds wonderful on F5: it's very smooth, with a nice almost organic sense to it with an overall vibrancy of delivery - nothing harsh or out of place; guitars are quite central and a lovely 'strum' with a sense of the strings vibrating is apparent - Elliot's voice is again centre, and I would say in-line with instruments - if I were to nitpick, I might look for a bit more weight to his voice but only very slight. Percussion is handled with ease, but it must be noted that kick drums are a touch soft. This is an older FLAC recording which likely accounts for some of these nitpicks, and on the flipside, older recordings are often a challenge to even sound decent, let alone very good as is the case here.

Plant43 - Links Never Forged (Electro)


This track very much embodies the spirit of classic electro from the likes of Drexciya for those of you who appreciate the genre. Always a great test for sub-bass in particular, and the offbeat kick drums tend to dig very deep, and need a capable IEM to fully appreciate. The sub depth on F5 with this track is incredibly satisfying, with enormous depth following the initial centre focused impact. The flowing melodic synths swirl about the large stage giving a great sense of separation, both snare and hat hits have ample space and nothing harsh. This is a genre I enjoy a lot, and F5 will absolutely be an IEM I reach for when hitting these shelves of my library in future.

Kid Lib - Sound Move (D&B)


My usual crucial Drum & Bass test - quite often a make-or-break genre for an IEM on two key fronts: requires sub extension & can handle complexity. Top marks on both counts here, and as per above, I can see these being the set I will choose in future for this genre. Massive sub depth, and excellent detail and speed in handling the fast and complex percussion - and very importantly, never harsh in the upper registers where some IEMs fail. Layers are distinct, but as noted in the technical section, we get more of an overall presentation without trying to drag a microscope over anything.

Julia Jacklin - Don't Know How to Keep Loving You (Female Vocals, Indie)



I pretty much always test this album on IEMs to evaluate female vocals. Julia's voice is centred and in-line with instruments - it's a touch thin compared to how I would prefer to hear it - I would like a little bit more body. Guitars and percussion are rendered nicely, with a great sense of space on stage for all instruments, even during the busier chorus passages.

Ed Carlsen - Close (Modern Classical)



This is a beautiful piece from the album 'The Journey Tapes' which was released in 2018. I'm quite fussy about modern classical, and typically choose my beloved Turii Ti for the genre in general. I must say, I'm pleasantly surprised with F5's performance: piano and strings sound very lifelike, and hugely captivating in a large and airy presentation. Again, there is ample room and a great sense of layering and imaging for the various instruments, with again that focus on an overall engagement factor for simply enjoying music...

Idles - I'm Scum (Punk)



Another crucial IEM test - can F5 survive one of my most challenging tests?! Good news - yes, but only just. This track gets quite chaotic at times, fast percussion, screaming guitars and shouting vocals. I do find more IEMs fail with this track than succeed, so to even get a pass here is an accomplishment in itself. Those peak moments do get very close to being too much for me, and I would say an IEM with a little less energy up top is better suited.



Conclusion

As an avid fan of single dynamic drivers, it's always a bit of a risk for me when I deviate from my preferred humble DDs - thankfully, the initial community praise (to include a period of a few weeks waiting) around this set drove my curiousity to a point where I just had to dive in, and I'm delighted I did - well balanced, and with enough colour to make them exciting when called for, or indeed smooth and refined - they are a bit of a chameleon in that regard, shifting to suit the music and with wonderful results. The light, comfortable and I like to think durable shells mean this is a set that can go anywhere with you without fear of damage. Whether you've a collection of premium sets and want something of a 'lower cost' that can be a daily driver, without too much compromise to sound, or indeed you are moving up the IEM ladder from various sub $1k sets and would like to conclude before hitting silly money, this is a wonderful addition to any music lovers collection. A huge hat tip to Custom Art for bringing to market what I personally consider the best price-to-performance IEM I've had the pleasure of trying so far on my journey, and while of course they aren't cheap, they do indeed demonstrate what is possible without spending several thousand, especially with more challenging economic times upon us. Tops marks, 5/5.

Hifiman 'Svanar' Single Dynamic Driver - $1,999



Introductions and Caveats

Svanar popped up sort of out of nowhere, and immediately had my attention being a massive fan of the humble single dynamic driver, a configuration that I obsess over, and own/have owned quite a few. I'm always curious to hear the various tuning profiles from different brands and across the pricing spectrum - admittedly, the more expensive sets grab my attention even more - not because I want to spend more money, but the curiousity as to what can they actually do with just one driver to 'justify' the higher price tag, and indeed how they compare with others at the top.

I would like to thank Hifiman for sending me a unit to try out for this review. My thoughts, opinions, general ramblings are all my own, with no influence from Hifiman. Svanar are available from Hifiman directly HERE

Specifications

• 9.2mm Dynamic Driver
• Impedance: 60Ω.
• Frequency Response Range: 5Hz-35kHz.
• Sensitivity: 100dB.
• Weight: 13 grams (Excluding Cable).

Unboxing & Accessories

Svanar arrives in a rather large and heavy box, and the reason becomes clear upon opening the outer cardboard box -



Inside, you are greeted with a large wooden jewellery style box - it looks quite impressive, and feels premium.



Maybe I'm incredibly fussy, but I was a bit underwhelmed when I opened the lid - the contents just didn't scream $2K IEMs. The open box reveals a cardboard carton with tips, the IEM case, and another box with the cable.



First look at Svanar themselves, I can't say the appearance of the outer shell got me that excited... however I do prefer a plain aesthetic, these just looked a bit bland on first glance, and again not quite what I'd expect at this price point.



Contents laid bare: tips, 2-pin cable adaptors, ear hooks, case, cable, instruction manual.



Cable -

The cable isn't fantastic - it looks and feels a bit cheap and again not befitting of a $2K IEM. However, it is comfortable to wear and sits very well over my ears. I find it excellent out walking too, I can position it in such a way that it doesn't bother me or cause any microphonics. It has a soft sort of rubbery texture and doesn't like being wrapped up, having a tendency to bounce back out again.

The jack is a 3.5mm and has quite an industrial look to it and a bit of weight too. The 2-pin connectors are proprietary which came as a great surprise and disappointment - I attempted to hook up several of my 3rd party 2-pin plugs to no avail. I honestly can't get my head around why any brand would create this limitation.

Again, it's fine and does what it's supposed to do - and to be fair, it works in the overall theme of being a solid all-rounder - i.e. the cable must be one that can be used out and about, not the case if looking at a set such as the Turii Ti where the cable in my opinion is too thick and heavy for that use-case.



Tips -

The stock tips seem pretty basic - you get a large and medium triple-flange, and what look like another set of double-flange, plus one regular. Again, I would expect both more and better at this price point, but that said, most people seem to use their own preferred tips...

Case -

Having initially turned my nose up at the case on first sight, I've actually grown quite fond of it - it is very durable and a nice compact size, as such serves as a practical case to carry and protect the Svanar in your pocket, bag etc. A number of stock cases I find are too big to bring out and about, and are only useful for at home - not the case here, pardon the pun. If being critical, it doesn't look like a case one would expect with a premium product - but again with practicality in mind, it definitely ticks the right boxes.




Design and Fit

I've had a few rants at this stage, maybe I've quite high expectations from other recent + $1K sets such as the Xelento 2 or Turii Ti - both absolutely bar-raising in their own way when it comes to the cable and accessories. Enough of the negatives though, now is where the good stuff begins!

The shells are a fairly bland exterior (oops, negative again!) that certainly don't scream a $2K set - but let's actually call that a good thing, as these are an IEM that can and should go anywhere based on the comfort levels and tuning, which we'll get to shortly. The material appears to be very resistant to any scratches or marks - I've had these out and about a lot while getting to know them, and they look absolutely immactulate still.



Apparently years of research and development went into the creation of these shells, and I can well believe it. These are without question, the single most comfortable IEM I've ever had the pleasure of putting in my ears. They just fit perfectly, and must be relatively close to what a custom feels like - quite an achievement for a universal. Now of course I can't say this will be the case for everyone, but I do feel confident enough people will not have an issue with fit.

The inner side of the shells are coated in 24K gold plating over copper - this must play a part in the soft sensation of how they sit in the ears. As an aside, they are tricky to take a photo of, as they are highly reflective - if you look closely, you will see me, or at least my hands and phone - cheese



Isolation is excellent - I'm using Azla SednaEarfit Standard and get a fantastic seal, and have found only louder noises get through when I'm out walking for example. And again, the comfort really is at the highest level, I can wear these for hours with zero discomfort - that is of huge importance and offsets against some of my previously mentioned gripes.



Listening Impressions

I've listened to Svanar with numerous sources now, and very happy with performance in all cases. From a portable perspective, my Lotoo Paw 6000 has had a lot of use, and at home the iBasso DX320X steps in, mostly with amp11mk2. More recently, I've added the Shanling M6 Ultra to the collection and this is also excellent.



I've had an interesting journey with single dynamic drivers over the last couple of years - on a quest to find what I considered the very best. This journey has had many twists and turns, and I guess resulted at this point with a learning that is there really is no 'best' so to speak. The sets I've encountered are either specialists in my experience for specific genres, or more broady competent all-rounders - this latter scenario requires a few boxes to be checked off as follows:

1. Can play absolutely any genre, and sound at least 'very good' and often excellent
2. Comfortable to wear for extended durations
3. Good isolation
4. Not too fussy with sources

A specialist on the other-hand is a set that excels with specific genres, or maybe less practical to listen to in some environments - take Turii Ti for example where isolation is almost non-existent, and definitely not a set I would personally reach for if going walking.

Anyway, Svanar for me absolutely lands squarely in the all-rounder box - and the best I've heard in that regard. It strikes an excellent balance across the frequency range, providing a clear, organic tonality with very good detail retrieval that is more immersed in the music than pushed forward in a prominent technical way. I've tried everything from ambient to techno, rock to classical, and all in between, and I've yet to come away with a sense that I must avoid that genre next time - this is often the case for me with IEMs - they then become a specialist where I've determined they excel. Svanar manages to achieve a splendid balance in a sort of 'just right' way for frequency response, technical competency, and musicality.

My initial impressions were that it might be a bit lacking from a detail retrieval perspective, but with time I've noted it's more the details aren't pushed too forward, the signature in general leans towards more focus on enjoying the complete picture, rather than getting potentially distracted by shifting attention to the precise location of an instrument popping up in some random location on the stage - this does occur if you choose to focus your attention, but it doesn't try to take your attention. Overall, I would say the profile leans towards a somewhat reference tuning with a warm tint - this I feel provides that natural sound which is very easy to listen to and enjoy.



Bass -

While both mid and sub bass have excellent quantity and quality, I feel they again sit in that 'just right' zone, digging deep when called upon, and slamming hard as appropriate. There is a nice deep visceral rumble with sub extension. Lows in general feel quite central in the presentation, a location where I expect to hear them, and do not bleed into the mids. Absolutely not bass-head, but equally not bass-light.

Mids -

Clear, with plenty of space and offering excellent timbre/realism for both instruments and vocals. I've thoroughly enjoyed both male and female vocals, and instruments such as guitars, piano, sax etc. are all delivered with an authenticity and lots of space to shine individually. Shift to electronic music, and complex passages with several layers of synths are all easily handled and a joy to listen to. I haven't experienced any congestion, even with the most busy tracks, Svanar hasn't faltered.

Treble -

A bit repetitive of me now, but it is definitely the theme for Svanar where the uppers again fall into an amount that doesn't spike too high, nor drops too much below that sparkle sweet spot - yes there are sets that are more airy up top, and as such push details more forward and indeed become more competent for specific genres, but that in my experience comes with trade offs, where they can also become harsh for some genres.

Technical -

The stage is quite impressive and again as noted previously on detail retrieval, I initially felt Svanar might be a bit lacking - further and longer listening sessions again revealed how wrong I was. Svanar absolutely goes for that entire cohesive presentation - the focus being to enjoy your music, and pay less attention to these specifics - but yet performs incredibly well, you just need to shift attention from the 'music' to the specific attribute, and quickly discover that box is very much ticked. Likewise imaging and staging, all very well executed and fall into that natural and organic signature profile. The stage isn't quite holographic, nor does it extend out in every far flung direction, but it has good width and depth and to my mind, a very realistic presentation of music, especially with that all-rounder focus and one that reminds me more so of a competent 2-channel bookshelf speaker setup.

Test Tracks (I link to Bandcamp where possible, YouTube if the track is not on Bandcamp)

Bill Callahan - Javelin Unlanding (Male vocals, folk, indie)

https://billcallahan.bandcamp.com/track/javelin-unlanding

Bill's voice sounds very authentic and true to my expectations of how I hear him over the years on various 2-channel systems. There is a nice depth and weight to his voice. Initial acoustic guitars sit slight back and central, Bill's voice a touch forward relatively speaking - perscussion is beautifully rendered spreading out to the left and right in a very pleasing stereo field. Electric guitars are sitting out to the right, and enter/exit in an incredibly captivating way. The wind instrument (no idea what it is!) is sat quite central, very complementary to Bill's vocals.

Deerhunter - Desire Lines (Male vocals, indie rock)



I chose this track as I was just chatting with my daughter about it earlier today, discussing our shared love for how it goes off on an instrumental journey, and how we could easily listen to it for twice it's run time! With that in mind, I was curious to test on Svanar. As per the previous track, vocals are again central and marginally forward I would say - you again have this wonderfully authentic delivery, with an incredibly addictive stereo field presentation. Percussion spreads out left and right, the bass guitar strums along in the middle, giving a nice does of rumble, while electric guitars sit mostly out to the right but span the stage occassionally. Tops marks, sounds wonderful and delighted to revisit after discussing with my daughter.

Jane Weaver - The Revolution of Super Visions (Female vocals, indie, psychadelic)



Jane's vocals are maybe a bit more in line with instruments, not that slight push forward I've experienced with male vocals. This for me is no bad thing, just an observation. There is yet again an excellent cohesive presentation, plenty of space for all instruments on stage, and zero congestion on busy passages - something that always fascinates me when only one driver on duty. As a faster paced track, with at times quite a few instruments in full flight, this DD really does yet again demonstrate why it should be considered a highly competent driver.

Teebee - Spaceage (D&B, electronica)



Drum & Bass is a genre I listen to quite a lot of, and an IEM can quite easily fail due to the often complex percussion and deep sub requirements. Svanar passes the test here with flying colours, well able to handle everything thrown at the drivers not only with great ease, but doing a fantastic job - the driver clearly has great pace, percussion sounds pristine and snappy, synths fire around the stage, and the sub rumbles along wonderfully underneath.

Comit - Shorelines



IDM is typically defined by complex/intricate drum programming, and numerous layers of synth melodies. There is often a lot going on, as is evident in this track if you choose to listen! A IEM suited to this genre needs to be able to handle the complexity, and present in a somewhat 'soothing' manner - not unlike how I described Svanar earlier in the review, whereby you hear the complete picture, but you can zoom in on so many intricate details. The low end is important for this genre too, as the mid bass kick needs good definition, and sub bass for both percussion and low synth registers / bass lines need to dig quite deep. Svanar is perfect here - absolutely 10/10 and a set I would now consider up there with the best I've heard in this regard. The whole track is presented flawlessly, with a vast stage allowing each component to shine.

Galya Bisengalieva - Aralkum (modern classical, electronica)



This is a wonderful experimental style of electronica blended with modern classical - an intriguing piece from a stunning album. Yet again, I cannot fault Svanar - a beautiful rendition, and not far off Turii Ti which is the set I usually reach for when listening to a genre like this. The mids are lush, engaging, and incredibly captivating, strings zoom in and out of the stage in a playful and almost haunting way, and when fully present, create quite a vast sensation in terms of stage size. A percussive element trundles along, with a slow meandering thud.

Comparisons

Sennheiser IE900

IE900 is a favourite of mine, and has been since I first got my hands on one in May 2020 - I would say it transformed my relationship at the time with IEMs, quickly pushing out the likes of MEST MKII. Compared to Svanar, it is much more of a V-shaped presentation, digging deeper with sub bass and reaching higher registers up top with that wonderfully crisp sparkle. For me, IE900 is much less of an all-rounder, and a set over time that has become more specifically for electronic music in my collection - far less inclined to choose for modern classical for example. While it's comfortable, I consider Svanar quite ahead in that regard.

Softears Turii Ti

Turii Ti was probably my greatest surprise of 2022, selling both Jewel and Traillii not long after it arrived, due to finding a preference for it with very similar shelves of my library. Turii Ti is more resolving, with a bigger stage and steps back versus Svanar from a lows perspective, but with more energy up top in upper mids and treble - this contributes largely towards the huge amount of detail retrieval. While Turii Ti is good with most of my library, I would mostly classify as a specialist as it is fantastic with specific segments of my library, definitely not as competent an all-rounder as Svanar.

Technics TZ700

The TZ700 is another DD I have huge appreciation for. It is somewhat more reference with a bass emphasis versus Svanar, and leans more in the technical than musical direction in comparison - I find with TZ700 that it's technical competence is much more up front, where Svanar instead dials the musicality forward in contrast. TZ700 digs deeper from a sub perspective, one of the most impressive I've heard, especially from a single DD.

Conclusion

The Hifiman Svanar is without doubt the best all-round performing single DD I've had the pleasure of hearing - there are definitely sets that do better in specific genres, the Turii Ti springs to mind, as does IE900 - but neither of those are as competent for playing basically any genre, and doing a bloody good job of it. It is the sort of set I can reach for no matter what sort of music I'm in the mood for, and love every minute - be that at home, out walking, or any mode of transport. I have noted my gripes in terms of the accessories, in particular the cable - however, the combination of sound quality and comfort really do for me make this a worthy top-tier single dynamic driver, and come with my highest recommendation.

Oh and it must be noted, the Shanling M6 Ultra along with Svanar make for a stunning portable solution - if I had to retire from the hobby with only one DAP and IEM, I would choose this combination.

May update: when taking Svanar out of my left ear, the shell popped open as per below image. I’ve reduced my rating as a result.

"If at first you don't succeed, try, try again..."

Kinera Nanna 2.0 Pro: Dynamic Driver, 1 x BA, 2 x EST - $949)

Introductions & Disclaimer

Why do I open with this line? - well it's not a slant towards Kinera. I've had the Nanna Pro 2.0 for a few months now, and I must admit, they were sort of parked on a shelf - I made a couple of attempts to listen, and just wasn't enjoying them. Rewind a few months: a representative from Kinera had reached out to me and asked to try one of their products, after some discussion back and forth, we agreed Nanna 2.0. So to get the disclaimer bit out of the way, these were sent at no charge, and with an expectation for honest feedback - and to be honest, I was feeling a bit awkward about the 'honest feedback' bit as they weren't clicking with me at all. During the Christmas break, I decided to give them another try, and this time persevered and rolled quite a few tips... hey presto, voila, eureka: Xelastec to the rescue - interestingly, I've had a love/hate relationship with these tips, and don't often even bother trying them - in this case, I am very glad I did, as they have changed the entire experience with Nanna 2.0, and have become a set I listen to almost every day since, a huge favourite to bring to the office now that working from home is less necessary, and a go-to choice for my morning walk with my dog.

I would like to thank Kinera for the opportunity, and especially Patrick (Kinera Rep) for his highly professional communication style - not only is he a rep for Kinera, but he is absolutely passionate about music, and it is so evident in the many chats we've had over the last few months. He has been patient too on my feedback, with absolutely no pressure. We've had some conversations also about the future direction of the brand, and it seems they have quite a few exciting products up their sleeves, looking forward to hearing more about them in due course.

As always, I like to note that I am not a professional reviewer - just an enthusiast that loves music and technology, and this hobby is a wonderful way to combine both. I do however try my best to convey what I enjoy about a set, and the genres they work well with... and indeed hope this is useful for others!

The Nanna 2.0 Pro is available from various stores, and directly from Kinera HERE

About Kinera

I think most in this hobby will likely have at least heard of Kinera - they do a great job of marketing, and are widely available on a number of well-known online stores. The brand has been on my own radar a while, as coming from a background in consumer electronics, I'm always observing how brands present themselves, sort of in my DNA and as I no longer work in the industry, this hobby allows me to continue enjoying the interaction. Anyway, here is a bit of a background on Kinera from their own website:

The story began in 2011, YuTai Electronic Acoustics was officially established in Dongguan, China. A year ago, we developed the world’s first high resistance 5mm micro dynamic speaker for military hearing aids. In 2013, we began mass manufacturing balanced armature driver and became an internationally and locally renowned supplier of driver. In 2014 till 2015, Yutai Electronic Acoustics has developed a number of patents for various driver technologies such as bone conduction. In 2016, released the first hybrid driver IEM BD005 by “ Kinera “ brand, which became the most competitive entry- level hybrid driver IEM after launch. In 2017, released the second hybrid driver IEM H3, which is based on the sound of the BD005 proofing further refined, with a more outstanding sound and sense of hearing. At the same time, BD005 was rewarded the runner-up in the headphone market of the year by Japan’s leading headphone retailer E-earphone. In 2018, Kinera released a series of product with a symbolic meaning: SEED, IDUN and ODIN were born one after another, and at the end of the year, we launched the IDUN special limited edition 500 sets during the Christmas season, which were sold out within a month before they were launched. In 2019, Kinera released its latest single dynamic driver in-ear monitor, the Kinera Sif. Afterward, later the first EST IEM, the Kinera Nanna was released.


Specifications

• 2 Sonions EST + 1 Mids Sonions BA + 7mm Dynamic Driver
• Impedance: 60 ohms
• Sensitivity: 110dB±2db
• Frequency Response: 5Hz-50kHz
• 6N OCC with Silver Plated Cable

Unboxing & Accessories

The Nanna 2.0 Pro is my first experience of a Kinera product, and it certainly gave me a wonderful sense of first impressions on arrival. The branding is excellent, and the box has a rather unusual hexagon shape. The attention to detail really is top notch - everything from the excellent selection of accessories, to small (but important) things such as how well the cable connects to the IEMs.











Case

A very practical case that allows Nanna and cable to fit securely and without any difficulty taking in or out - I'm often surprised with IEMs how impractical the supplied cases can be, often too big or even too small, Kinera got it spot on here. When going to work, I pop the case in a front pocket of my laptop backpack where it fits neatly and easy to access.



Cable

The supplied cable has a modular system for 3.5mm, 2.5mm, and 4.4mm - very well executed in that it's neat, easy to change, and doesn't accidentally unplug. The cable itself is relatively soft and pliable, and in general I would say of high quality for a stock cable. It's comfortable over the ears, and has very little microphonics and perfect for out walking and general portable use. The 2-pin connectors sit flat on the IEMs, and have an excellent secure fit - a pet hate of mine is stock cables that are meant for a recessed socket, but the IEM doesn't have a recessed socket, I really cannot understand a brand decision to do that... thankfully Kinera again pay attention to these small, but important details.







Tips

There are a fantastic selection of tips to include the excellent Final 'Type E' in a wide array of sizes. There is also a selection of foam tips, and two packs of additional stock tips. There should be something here that works for everyone, but as noted earlier, I had some trouble and only more recently went digging in my own collection to find a better fit, and thankfully I did with both Azla Xelestac and SednaEarfit Standards - both of which often rescue me from fit issues! But again, an excellent selection of tips which as I've noted, really highlight the brand attention to detail and overall complete package.



Design and Fit

The shells are I assume made from some form of resin - they are wonderfully smooth, and have a beautiful hand painted finish, which of course makes each of them unique. They are a smallish size, and fit perfectly in my ears with excellent comfort - one of the best I've tried in fact. They are vented, and I have not experienced any pressure build. There is a good level of isolation too, when I'm out walking I can hear traffic around me but not too much of an intrusion to the music - when wearing at home, they pretty much block out everything around me in the house... wife, kids, dog etc





As noted, I really appreciate when a stock cable sits perfectly flush and secure in the IEM - and indeed has a comfortable over-ear loop that holds securely in place.



Listening Impressions

A graph first of all borrowed from the Kinera website as this might be useful for readers to get a general feel for the tuning. Of course how they sound in 'real life' is always quite different, but the graph is a somewhat useful guide.



The Nanna 2.0 in summary is a somewhat bright leaning set, with a lot of energy, excellent clarity and a good sense of balance from low to high. It has very good technical capability, with a reasonable sized soundstage.

Bass

Bass digs quite deep when called for, and has a nice sense of rumble with excellent texture. The mid bass is distinct from sub, and hits with decent authority - kick drums for example have very good impact. Touching on sub bass again, it has plenty of room down low and is rendered with excellent clarity and without any sense of bleed, likewise mid bass. Listening as I type to 'Kong' by Bonobo for example, and the sub rumbles along underneath with great clarity and presence - it has that sense of a sub woofer, but not overly powerful - this is not a bass-head set.

Mids

Excellent clarity, good note weight, plenty of space, and with an overall euphonic delivery - any instruments positioned here have fantastic vibrancy, and even in the most busy tracks I have not encountered any congestion or harshness into the upper mids. Male and female vocals are both well rendered, and tend to sit in-line with instruments, not pushed back or forward in the mix. Timbre is very good, but I have a DD bias here and will always prefer instruments such as strings, piano, brass, wind etc on a dynamic driver.

Treble

The treble via the ESTs is very well executed, and has a really crisp, snappy bite - it allows an excellent sense of air, and wonderful detail retrieval. There are times where I'm close to my own treble tolerance levels, which lead me to turn the volume down a little. While Nanna works well with any of my sources, there are scenarios where a slightly warmer and less energetic source can be a better choice. Also, I'm finding Nanna overall performs better with higher quality recordings - less forgiving of older/inferior recordings... sort of a 'poo in, poo out' scenario...

Technical

Nanna is a very competent set from a technical perspective. It strikes a nice balance of musicality and technicality. The stage has good width out left and right, but not the deepest - I can't count this as a 'con' though, as I find I sometimes prefer a soundstage of this nature - it's not always necessary for it to expand out in every direction. Imaging is very precise and clear - very easy to pinpoint any specific component of a track, and even sort of eyeball where that sound appears within my skull! Tracks with multiple layers are handled with ease, and again positioned well on stage. Resolution is very good, and I keep reminding myself this is a sub $1k set when listening for these various attributes, Nanna does a truly excellent job and delivers with great overall cohesion.




Test Tracks

London Grammar - Missing (vocal, electronic, indie)

I'm a big fan of London Grammar, and pretty much always use at least one track to test an IEM. Vocals here are beautiful - in a perfectly central position, and realistic in terms of my expectations on how I hear them. The instruments spread out with nice width, and plenty of space to be heard in isolation. It sounds nicely balanced, plenty of detail, good emphasis on vocals, and overall a wonderful listening experience.



Boy Harsher - Fate (vocals / synth / EBM)

I was excited to see this on my DAP as I was digging through tracks to test. I've not listened to this album in a while, and have very fond memories of a holiday about 4 years ago where we played this album in the car as we visited various places in the west of Ireland. Nanna does an excellent job here - again vocals are well positioned for my listening preferences, and there is plenty of space for instruments. I would probably prefer some more bass here, as I think this track sounds at it's best when the bass gets a bit more attention - note to self here, make sure to test this track for my next review, the Custom Arts Fibae 5. Synths sound warm and swirl off in both directions on stage, creating a very nice sense of emotional engagement. There are quite a lot of electronic elements at play in this track, and they have an excellent sense of layering on stage - very easy to pick out individually, but also an excellent cohesive whole.



Brambles - In The Androgynous Dark (modern classical)

A really beautiful track from a wonderful work of modern classical genius. It is simple, elegant, and wonderfully captivating on Nanna - and while I did previously note my preference for DDs for instruments of this nature, it is fair to say it's a nitpick in many ways as I can comfortably close my eyes and just get lost in this track. The clarity I've previously mentioned is absolutely key for me in tracks like this - a pristine delivery of each instrument, with excellent distinction, Nanna absolutely delivers here and definitely a set I can comfortably recommend for this genre.



Idles - I'm Scum (punk)

This is always one of my curve-ball tracks that can really challenge an IEM. It's fast, it is very high energy and the peak moments can become a bit difficult for some sets. Unfortunately Nanna didn't do so well here, the climatic moments with percussion and guitars hitting their peaks just sound too harsh, and I would really struggle to keep listening, unless lowered to a volume where it becomes no longer enjoyable for lack of presence.



Blocks & Escher - Vigil (drum and bass)

Another one of my tougher test genres, this time Drum & Bass. Not quite as challening as the previous track, but I would prefer a bit less energy up top for this track and likely D&B in general. The snares are fast paced and hard hitting, becoming a bit too harsh for me - I can tolerate it unlike the previous track, but I would be far less inclined to reach for Nanna when listening to this genre.



The 7th Plain - Excalibur's Radar (IDM, ambient techno)

Most who listen to techno over the years will likely have heard of Luke Slater - he is a legend of the genre, going right back to the early 90s. I own pretty much everything he has ever produced, and cherish his work these days as the '7th Plain' the most as it's of a more subdued, relaxed, melodic nature - more fitting to my stage of life, where I no longer hit the dancefloor for pounding techno, but do listen still from time-to-time Incidentally, his recordings as the 7th Plain actually date back to the 90s, and I would argue were quite ahead of their time and quite unique - they sit in an ambient techno camp, so that being slower tempo, and designed more to listen and relax. Anyway, a bit of a waffle there - this track works very well on Nanna, there are lots of intricate details that if you focus attention, you can easily zoom in on them individually and get a great feel for the musical mastery of Mr. Slater - complex percussion that sits a bit back in the mix, wonderful melodic synths and a generally captivating listen.



Esmerine - Translator's Clos I & II (world, instrumental, modern classical)

Spectacular album - multiple instruments and recorded in Instanbul with guest musicians, that Turkish flavour very evident. This is a relativy high energy track, with quite a lot going on at times and definitely a good test for an IEMs ability to keep up, and not fall intro a trap of congestion - while still allowing individual instruments to have a space on stage. It sounds dramatic and absolutely exciting on Nanna, posing absolutely no challenge for the multiple drivers to keep up. I've include part 1 & 2 of track below, as I listened to both for the review.





Conclusion

A key take-away from my experience with the Nanna 2.0 is absolutely the need to make sure I try numerous tips - not only from a fit perspective, as in this case I did feel with some tips that the fit was fine, but the sound was not - only when I eventually tried the Xelastecs didn't everything finally fall into place, and the Nanna shot up to a set I listen to almost every day, ahead of sets considerable more expensive. In my opinon, Nanna punches above it's weight, and offers excellent value in terms of a sub $1k set - compare it with some of the kilobuck sets, and of course it will fall short, but I would argue that it certainly does not fall short to the tune of the difference in cost that exists between some of these sets, and a sort of 'case closed' situation for me in terms of some of the best evidence I've secured on the topic of diminishing returns. I know Kinera have higher-end sets on the way, and I will be very curious to hear how they stack up having experienced what they can do at this lower price segment. There are numerous boxes ticked with Nanna that Kinera deserve high praise for: they sound wonderful, great comfort, excellent selection of accessories, and an overall fantastic attention to detail - it is clear to me that Kinera are a brand that deserve more attention.

"An obscuring of the light from one celestial body by the passage of another between it and the observer or between it and its source of illumination"
Oxford Dictionary

Melodic Artification 'Eclipse' - Dual Dynamic Driver ($1,390)

Introduction & Caveats

The Eclipse sort of came out of nowhere, at least in the western world - making it's appearance without warning one day on Musicteck, and being a DD lover, they instantly had my attention - especially as they are a dual DD, and made from titanium - how could I resist?!

As always, I like to note that I am not a professional reviewer - this is my hobby, and I enjoy trying out various sets and sharing my thoughts. I often get a discount in exchange, but it in no way influences the content of my review - I choose the sets I am keen to try, and this typically means I've done a fair bit of research before pulling the trigger, getting a good sense as to whether it will be a set I will likely enjoy - and for the most part, this has been the case... hence my positive ratings. Some last longer than others, there are only so many I can afford or have the time to hold on to, and part of the enjoyment for me is testing various sets and determining how they compare to my existing collection.

I would like to thank @MusicTeck as always for the opportunity and their industry-leading customer service - an absolute pleasure to deal with.

The Eclipse retails for $1,390 and is available from MusicTeck HERE

Who are Melodic Artification (MA), and why the heck are they called that?

This is going to be a relatively short segment of the review, because I've absolutely no idea of either. However, anecdotally, they are a relatively niche brand based in China, and have had great success with Eclipse in that region. There are two things that gave me some confidence to make this purchase in the absence of existing brand awareness: First of all, I trust what Musicteck choose to stock, and secondly, a collaboration with a brand like Liquid Links has to lend some credence to the offering... it does for me anyway.

Specifications

• FR 10 – 30kHz
• Impedance 34 Ohm
• Sensitivity 103 dB @ 1kHz
• THD less than 1%

Unboxing & Accessories

I know this is a quick process, we are always eager to get our hands on the new toy - I've mentioned in previous reviews though that I really enjoy the unboxing, it often sets the scene for the overall experience for me. I have to say I was a bit underwhelmed with Eclipse. There's nothing 'wrong' with it as such, but nor is there any wow factor, or a feeling of opening up what is a pretty expensive set. In addition, the accessories serve their purpose, but are somewhat sparse versus others in this price category, or indeed a lot less. In addition, the case is shipped separately - I was surprised when my Eclipse arrived to find no case in the box, so I reached out to Musicteck and discovered the case actually ships in a separate box, which was missed in my shipment but of course quickly rectified.

Anyway, with that bit of a moan out of the way, let's proceed to the unboxing, and you can tell me in the comments if I was being a bit of a grump



An outer segment of the box slides off to reveal the IEMs nestled in a sort of foam panel -



Underneath, we see the cable and a box which contains the tips and protective mesh for the IEMs - which I must say is excellent.



All of the bits and pieces that are in the box, notably excluding the case as mentioned previously.

• Cable
• IEM mesh protective pouch (this is actually a good size and easy to position the IEMs into, I've found they can be a bit small and awkward with other brands)
• Tips

The case - which is very practical, and allows storage of Eclipse with plenty of room - something I find is not always the case (pardon the pun)... it has a sort of rubbery texture to the exterior, and a soft cloth interior. It certainly provides good protection for your investment, and the pouch is very easy to pop the IEMs in to ensure you don't damage the shells when not in use.





Cable -

Having already experienced two sets (Softears Turii Ti and Elysian X) that comes supplied with a Liquid Links cable, I was immediately intrigued / sold when I saw Eclipse also came with a stock LL cable (4.4mm / 2-pin). They are a beautiful looking, and wonderfully built cable - fantastic attention to detail from top to tail, and the pictures don't really do justice. The cable has reasonable weight and thickness, but zero microphonics. It could be used out and about, but for me it would be borderline - I prefer very light, and very slim cables for my out-and-about needs... for reference, Xelento 2 and it's wonderfully thin/light cable have set a new bar for my portable needs. I wouldn't be surprised if a cable like this sold for in the region of $300 separately.









Tips -

There are three different tips supplied - two of which are 3rd party, and I suspect the third is also, but not specified... this 3rd option is the only one that I could get a somewhat decent fit, but ultimately I moved to various tips in my armoury.

First up here is the 'Diamond Earfit' by Simphonio - not one I've heard of before. Interestingly, there is a sticker on the rear of this box with 'recommended' on it, so presumably MA feel it's best suited. There is what I assume is a medium and large, and no small - they are on the smaller size though, and unfortunately didn't work for my fussy ears at all.





Next up is the Softears 'UC' tips - this time you do get small, medium, and large. Again for me however, none of them provided a good seal in my ears - this didn't come as a surprise though having tried them with both Softears Twilight and Turii Ti.



And last but not least, a set of tips with no brand. They do look familiar, I'm pretty sure I've seen them or something very similar on my IEM travels - feel free to mention in the comments if you think you know the brand...

Design and Fit

First of all, I have to say I think the shells look and feel fantastic - I'm a big fan of metal shells, and especially made from titanium as is the case here. They have a nice weight to them, but not too heavy when in my ears. They are very easy to position once you've found the right tip, and are comfortable for long sessions. Isolation is pretty good, but not fantastic - I guess this depends also on what tips you use. I've needed to use larger tips in my collection, and found I a renewed appreciation recently for Xel





Listening Impressions

The Eclipse have had a lot of play over the last four weeks or so - paired with the Shanling H7, LPGT, and most recently the iBasso 320X with the stock amp11mk2. They aren't that fussy in terms of source, and sound fantastic with whatever I've paired with.



In summary, there is excellent clarity across the FR, all instruments sound wonderfully clear, distinct, accurate and with plenty of space - it’s very easy to pinpoint each component on stage. I have found Eclipse performs wonderfully with most genres, but it is a bit fussy in terms of the quality of the recording - older material with lower quality comes off very flat and lifeless... in contrast, recent and especially higher quality files sound absolutely wonderful.

Bass -

While the lower frequencies are boosted, they in no way intrude on the mids - there is excellent distinction and this is clearly due to two dynamic drivers at work. The mid bass has brilliantly authoritative delivery with solid impact and an obvious sense of air. Sub bass digs deep, and very visceral in execution. Be it kick drums, double bass, synths, or lower registers of strings, piano etc, I’ve not been left wanting. Throw something bass heavy at Eclipse and they’ll gladly display their tuning capabilities - tracks with any bass emphasis sound stunning

Mids -

Mids have an organic, natural, effortless presentation with excellent body and fantastic timbre - any instrument to my ears has sounded beautifully lifelike, and I’ve tested numerous genres at this stage. I find both female vocals excellent, but some male vocals can be a touch thin, I'd like a bit more weight. The drivers can cope perfectly with any faster tracks with competing instruments on stage, everything has plenty of space and easy to zoom in on specific segments, I've not experienced any congestion even with the most complex tracks I've thrown at Eclipse.I have a huge love for modern classical which typically entails strings, piano, etc and often incorporates electronic instruments and field recordings - Eclipse is a perfect set for this genre, and has me delving into my library for my favourites, I absolutely adore how piano and strings sound.

Treble -

Treble is very well executed, I would say a touch below 'sparkle' but it still has a nice zing. Percussive elements such as snares, hi-hats etc have again a lifelike presence and are well positioned in a wide stereo field. The upper registers of strings can soar to beautiful heights, and never become shrill or harsh - again, even with the most busy passages or musical climatic moments that involve multiple instruments.

Technical -

The soundstage I feel has opened up as I’ve become more accustomed to the tuning. It has very good width, and reasonable depth and height - the lower frequencies do inject a bit of a sense of intimacy at times, adding in my opinion to a great sense of engagement and cohesion. It might be reasonable to describe as a sideward diamond if that makes sense - the wider portion extends out somewhat beyond my ears, and the narrow within the confines of my head. The sub bass gives a very nice sensation of creating a separate sub-woofer like experience, and this adds to the sense of stage. It's not the most resolving set I've heard, I feel it goes more towards an overall musical delivery - that is not to say there isn't good detail retrieval for example, it's absolutely there but takes a bit of a step back to the overall engaging nature of the set.



Test Tracks

J Majik - Point of No Return (Drum & Bass)

I'll cut straight to the chase here with some D&B - always a great test of an IEM's capability to handle complexity, sub bass, and the potential for harsh uppers. Good news D&B boppers... Eclipse kicks like a mule when it comes to this genre.



I'm trying to avoid allowing my excitement come through, but hey - as I've said, I'm not a professional, as a hobbyist I can be as emotional as I like! - with that in mind, the sub bass is utterly phenomenal in this track, and Eclipse steps up to the mark, and raises the bar - you've got this big deep, far reaching bass that rumbles right through your head, but at the same time not overpowering - it strikes a beautiful balance of quantity and quality, and never intrudes elsewhere... again, those of you who've heard a separate sub-woofer in say a 5.1 channel setup (I know they've moved on from that, but that's where mine still resides), this is the sort of action we've got going on. Up top, no bother handling the frenetic snares, fast pace, perfectly executed and an overall excellent experience for this genre.

London Grammar - Wasting My Younger Years (Female vocals, indie, rock)



Vocals are centred, and I would say pretty much right in the middle of my head - good body, and reach upper heights without sibilance. Kick drums are also centrally rendered, with cymbals, hi-hats pushing out left and right in a wonderful stereo field. Guitars, keyboards are layered very well into the mix, and everything is presented in a cohesive and highly engaging manner.

Nas - Life's a Bitch (Hip Hop)



Hip hop of course needs good sub extension, and it will come as no surprise at this point that Eclipse is perfectly suited in that regard. The sub bass in this track doesn't dig as deep as the 'Point of No Return' track first posted, but again there is a wonderful visceral delivery. The vocals step back a bit, I'm not sure if this is due to my FLAC recording but I feel they should be a more in-line, and with a touch more depth - as noted previously, male vocals can come off a bit thin.

Kuba - Send me Love (psy-chill / dub / reggae)



I'm a bit of a broken record now at this stage, but yet again - that bass! This is of course another genre that benefits from deep sub extension, and boy does it deliver here. Interestingly, the male vocals in this case sound spot on and sit nicely in-line with instruments and with good body. This is a very well produced track, and it sounds spectacular on Eclipse... I could easily just quit writing this review, and kick back and listen to this full excellent album... alas, duty calls...

Japanese Breakfast - Paprika (Female vocals, indie, rock, pop)



I've only started listening to Japanese Breakfast in maybe the last year or so - a random discovery one night on Bandcamp, and I've become a big fan since. I love the sheer energy in this song, it just brings a big smile to my face. It's a busy track, with a lot of instruments reaching various peak moments that could potentially cause trouble for some sets, but Eclipse yet again delivers. I feel a bit like listening in a small venue - a more intimate gig rather than a big concert hall. Easy to pick out the many instruments at play here, and the vocals take a perfect central role without being too dominant or submissive.

Keleketla! - Papua Merdeka (world, afrobeat, electronic)



Another feel-good track, and one that would make me want to be whisked away from this cold and wet winter weather here in Ireland - off to some beach in the Caribbean, or indeed anywhere with a bit of sun and sand, and of course a few cold beers... I probably need to do more testing, and maybe I had previously hit a few male vocal landmines with lower quality tracks - vocals here, both male and female are wonderfully rendered, percussion is really excellent... incredibly lifelike, sax is just putting shivers right through me - absolutely fantasic. I highly recommend this album by the way to those of you who enjoy afrobeat and may not have heard it, an excellent infusion of electronic and African vibes.

Violeta Vicci - Tuvan (modern classical)

Time to chill out a bit now with some modern classical.



All previous test tracks were obvious for me in terms of really zooming in on that wonderful bass, but a track like this is good test of more focus on an instrumental piece, and indeed the emotive engagement from a genre like this. The strings are really stunning, captivating, and spell-binding in presentation. Yet again, I have this desire to just stop typing and spend the time listening to this beautful album... anyone who enjoys this genre, please check out this album.

Comparisons... to follow - I wanted to get this review published, but the 'real world' is also getting in the way of my hobby of late, work demands etc... I do plan to come back though and compare the likes of Turii Ti, IE900, and Xelento 2.

Conclusion

The MA Eclipse is an IEM with wonderful character and flair - a competent all-rounder, but without being relegated to the position of 'master of none'. It can excite, and it can relax... it has this wonderful ability to present music as I believe it's intended. If there was a hall of fame for dynamic drivers, I would happily propose Eclipse takes a place in those ranks. I took a chance on this set, with not much to go on, and with a pretty much unknown brand... we take gambles in life, sometimes we win, and that is absolutely the case here. Impeccable tuning, excellent build quality, and they look fantastic too - if I had a hat to tip, I would do so in the direction of Melodic Artification, a wonderful achievement and I really hope more in this hobby give it a shot. Now I'm off to pour a glass of wine, and actually listen to Eclipse...

"The multiverse is a hypothetical group of multiple universes. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, information, and the physical laws and constants that describe them" Wikipedia

Unique Melody Multiverse Mentor - 12 BA, 1 Bone Conduction Hybrid IEM ($4,499)



Introduction & Caveats

The Multiverse Mentor (MM) is the third set I've now owned from Unique Melody (UM), the previous two no longer with me - first was the infamous MEST MKII which I purchased around it's launch in 2021, and then the MEXT early in 2022, in fact, I think it was my first purchase this year. I enjoyed both of these sets but ultimately moved on as part of the usual cycle of upgrades and exploration. I've been intrigued by various UM releases over the last year or so, quite a few such as the Indigo get a lot of incredibly high praise in the community, and I've been keen to try something that is considered at the level of Traillii or Jewel - which is exactly where MM is positioned. The Mentor arrived on the scene only a couple of months ago, and early impressions from the few trail-blazers that jumped in early were I would say unanimously excellent, a rare feat in this community. I had only recently parted with both Traillii and Jewel, and sort of 'settled' with Kr5 as my only multi-driver set, otherwise having a preference for mostly the humble single DD as a collection focus... alas, curiousity got the better of me, the usual FOMO when hearing all of the gushing praise for Mentor from Head-Fi members who've owned the very best sets on the planet - how could I resist?!

As always, I like to note that I am not a professional reviewer - this is my hobby, and I enjoy trying out various sets and sharing my thoughts. I often get a discount in exchange, but it in no way influences the content of my review - I choose the sets I am keen to try, and this typically means I've done a fair bit of research before pulling the trigger, getting a good sense as to whether it will be a set I will likely enjoy - and for the most part, this has been the case... hence my positive ratings. Some last longer than others, there are only so many I can afford or have the time to hold on to, and part of the enjoyment for me is testing various sets and determining how they compare to my existing collection.

I would like to thank @MusicTeck as always for the opportunity and their industry-leading customer service. Always an absolute pleasure to deal with, and arguably the best audio dealer in the universe... or eh, multiverse.

The UM MM retails for $4,499 and is available from MusicTeck HERE

Unboxing & Accessories
For anyone who has owned a product from Unique Melody already, the overall unboxing experience will be quite familiar, albeit steps up somewhat for this higher-end of the market versus MEST MKII for example, but not a million miles away by any means. I like the UM unboxing, it has a lovely premium feel to it, with a jewellery-like presentation - this has moved up a notch now also with the addition of a soft fabric bag covering the case inside the box, very reminiscent of how some watches are unveiled.

Outer Box: (there is actually a silver outer-outer box, but I decided to omit from these pictures as it's more a protective box)



Under the hood: The aforementioned cloth bag that holds the case... certainly gets the dopamine juices flowing, or maybe that's just me...

The MM in all it's glory, revealed inside it's carry case:



Some words of wisdom from Mr Einstein to ponder before sliding out the tray of accessories:

Contents of the tray, everything you could possibly need to get going with Mentor... (note the few raindrops on the table, my photo-shoot had to then move indoors!)



Accessories laid bare...



Cable
The supplied custom stock cable, made by the highly-regarded PW Audio is a 4-count, 26AWG copper and silver-plated cable. This is a shielded cable, with a fabric finish. It looks and feels incredibly premium, and I suspect would be relatively expensive if sold separately. I'm not 100% sure whether there are options on the cable termination, my came by default with 4.4mm and I can't see an option to choose another on the Musicteck product page. It's pretty thick, quite heavy, and does have some microphonics, as such not ideal for moving about the place, or certainly not going for a jog or walk - I don't expect many will have that in-mind anyway for a set at this sort of price point... personally, the ergonomics of the cable in this case are not an issue, as I'm typically seated when enjoying MM, or indeed any sets at this sort of level. I appreciate that many have their favourite cables anyway, and might skip the stock altogether - it must be noted though that this is a premium cable, and significantly better than some competitors at this level.





Case
The faux-leather case is made by a 'well-known' South Korean manufacturer, probably no prizes for guessing but I'll stop short of listing anything here, as I don't know for sure. It is indeed a high-quality case however, and is certainly of a size to comfortably hold MM and the relatively thick PW cable.





Tips
The supplied tips will again be familiar to anyone who has owned another product from UM, the stock silicone and 3rd party 'Xelastec' from SednaEarfit seem to be the standard with any UM product, and should certainly provide an option for most ears out of the box, in the very unlikely event you don't have a selection of others to choose from.

Design & Fit

According to UM, the shells are made from aviation-grade carbon fibre - they are smooth to the touch, reasonably small, and presumably quite robust due to the materials used. The shells are nice, and they do feel well built - a nitpick, but I do feel they could up their game somewhat in terms of the overall finish, they don't quite hit the mark for me as a $4.5K IEM.

They are terminated with a slightly recessed 2-pin connection, and the stock cable feels very secure. There is a small vent to ensure no pressure build, something I am very prone to and thankfully have had no issues to report here, and an absolute deal-breaker now if any set causes even a small amount of pressure.

From a fit perspective, they sit very comfortably in my ears. I've been using the SednaEarfit Azla Short Standard variety as opposed to any of the included tips. I struggle with shells that are even somewhat large, and I was nervous than Mentor might be an issue - thankfully not the case, but I think even slightly bigger and they may have been a problem. I've had many extended listening sessions (>two hours), and have had zero fatigue.



Listening Impressions

I've been listening to Mentor on a few different sources, and I'm finding great synergy with all of them - my favourite however is probably the latest addition to the collection, the excellent H7 from Shanling which just arrived with me a few days ago. The H7 strikes an excellent balance in terms of a clear, somewhat neutral sounding source that still drives huge power into the lows. Aside from the H7, I've had many hours on both the LPGT and Shanling M9, both offering a different perspective on the same set, with M9 as one might expect driving more emphasis to the lows, while LPGT of a more neutral variety.



MM are the single most impressive set I have had the pleasure of trying on my IEM journey to date: exquisitely balanced across the frequency range; wonderful deep lows, lush/engaging mids, and super crisp treble, all wrapped up in a set that has what I would consider to be a unique blend of technical mastery and summit-level engagement factor; a tricky feat to achieve. They comfortably tick that 'all-rounder' box for me, in that they often knock the ball out of the park with ease for absolutely any genre I've tested... however, they are of course better with some genres than others - personally, I would be more inclined to load up various sub-genres of electronic music with MM, and less inclined to choose something such as modern classical - the reason being, I do prefer dynamic drivers from a timbre perspective when it comes to instruments such as piano or strings, both of which often feature in modern classical music. But again, I must note this is quite marginal: I will happily listen to modern classical on Mentor, and thoroughly enjoy - just my preference when owning multiple sets would be to grab something like the Turii Ti in those scenarios.



Bass
I hate to use the 'for a BA' descriptor, but I feel it's appropriate - so here it goes: Mentor has the best bass 'for a BA' that I've heard. Mid bass has excellent impact and feels incredibly defined, I honestly would be hard pressed to distinguish at times from a dynamic driver if tested in a blindfolded listening scenario - genres such as techno, house, IDM to name a few of my favourites in electronic often call for solid mid bass delivery and I've been constantly amazed when firing up these portions of my library: there is often even almost a sense of air or vibration that one would expect from a DD, presumably this is due to the bone conduction, which certainly delivers. There is a bit of a bias towards mid bass over sub, but those lower registers still certainly convey a wonderfully visceral experience when called for, and I think again overall, it strikes an excellent or maybe even perfect balance - I don't get a sense of mid bass overpowering sub, or vice versa - they are wonderfully distinct and respectful to one another, and indeed form a solid foundation for the unique soundstage, which I'll come to later.

Mids
A critical element to an emotive & engaging listening experience are how the mids are rendered - In my experience, I would say a few key components must be achieved: smooth, clear, unimpeded with good body, realism, and a touch of warmth - MM as one might expect at this level, ticks all of these boxes, and probably many more that I've not listed here. Vocals and instruments are beautifully rendered, and really do enrapture with a unique sense of delivery, again this seems to be that secret sauce of bone conduction magic... it provides a core foundation to the entire listening experience, that really is like no other. Again, this should go without saying at this level but I'll note none-the-less; there is zero congestion, the most complex of passages in an absolutely any track I've listened to, always have ample space and speed for each component, more often than not actually amazing me as to how the heck an IEM can position from an imaging perspective with such a vast sense of location on stage. There can be a touch of spice in the upper mids in some very rare scenarios, so rare I can't even pinpoint where it has happened and it might be a sensitivity in that area I've flagged in the past.

Treble
As I learn more about how IEMs perform, and indeed what my own preferences are, I've got a better handle on the crucial role treble plays in a finely tuned set: too little can result in a set that steps back from a technical perspective, especially in micro details - and indeed the higher registers of instruments or vocals can fail to reach the soaring heights they might otherwise... too much, and there is a risk of the dreaded sibilant vocals, or harsh/piercing tones that scream all the way into the depths of your skull. A good balance is often just on the cusp of being too much, and I guess this is easier to achieve when you've numerous drivers delivering the goods, as is the case here with Mentor, and needless to say UM have certainly tuned just below this tipping point. There is ample zing at the upper end to provide a good crisp delivery of hi-hats and allow instruments soar to the upper extremities, but stop short of any discomfort.

Technical
There is a unique soundstage with BCD the foundation that seems to allow sound to emanate outwards from a central point in my head, to what feels almost infinite distances - of course it ends, but I find a sense of vastness that is almost hard to pinpoint, I guess this is where UM were coming from in the context of ‘Multiverse’, it feels like a well chosen name. While it’s not especially airy, it has more of a binding warmth that still allows what I consider industry-leading imaging and layering in a very distinctive and cohesive atmosphere - it has the charm of Traillii, with near enough the technical prowess of Jewel, and for my ears at least, beats both in terms of the overall package. Detail retrieval from the absolute smallest, to the biggest and boldest, is there in abundance but again, delivered in a cohesive presentation.



Tracks:

Vector Lovers - Melodies & Memory (IDM / Downtempo / Electro)



This track features on the excellent 'Capsule for One' reissue, originally released in 2005 on the legendary Soma label. This falls under the downtempo / IDM / electro umbrella, and for me, is about as good as it gets when played on Mentor. I mentioned above how the bass is wonderfully balanced between sub and mid, and this is absolutely evident in this track - the mid bass kicks with massive authority, and the sub rolls adjacently, in touching distance but comfortably apart. The synths are beautifully rendered, and seem to soar across the stage as they emerge and fade away - the vocals sit centre stage, and for my ears, in a perfect position that doesn't push too far forward or back.

Jane Weaver - Heartflow (Psychedelic rock, female vocals)



This is a great example of a track made with 'real' instruments, and I don't have any issue with timbre - it's a busy, lively, energetic track and Mentor as you would expect, has absolutely no issues with numerous instruments and vocals charging to the fore - in spite of the complexity, it's very easy to still pinpoint individual instruments and at the same time, enjoy the full performance. Jane's vocals are again as above, in a perfect sweet spot for me where they are in line with the music; not forward or back and quite central. Vocals certainly a huge strong point with Mentor, I'm not sure whether the BCD can take any credit here, but I expect it's playing a role along with the BAs for the mids. I've noted previously how I prefer Turii Ti for some instruments, but it does tend to be within the more relaxed genres where there is more of a specific focus on an individual instrument, this is not the case for this track, and indeed many others like it.

Ceephax - Telephax (IDM, Acid, Ambient, Techno)



A recent purchase, and likely a late entry to my favourite albums of 2022. Ceephax records also as Ceephax Acid Crew, which is a nod towards late 80s / early 90s acid house - I've never been to his gigs, but they certainly look fantastic from what I've seen on YouTube. His recordings as Ceephax are more towards the subdued, melodic side of electro/techno, and this latest album is certainly a fantastic example. It's again a genre that really excels on Mentor, I find a genre like this is best presented when bass, through mids and treble are well represented, and you can get that sense of deep bass, lush mids, and crisp treble to truly appreciate the full production. There is often quite a lot of intimate details in these tracks, that can be lost in some sets - every single detail of 'Telephax' is presented in it's full glory, and is a wonderfully encapsulating experience. While listening to type up my thoughts, I just wanted to hit repeat and go again, a fantastic track from an extraordinary album.

Akuratyde - Evergreen (Electronic / D&B)



I always, without exception test D&B on an IEM - it's a great genre to test how a set handles the complex drum programming, that can easily become harsh or congested due to the frequent snare and hi-hat hits - not to mention the need to ensure it can dig deep enough to render the sub bass well, a signature of the genre, as the name 'drum and bass' suggests. No surprises here, Mentor scores top marks for this excellent track - a big and bold presentation, with complex percussion handled with absolute ease. The melodic synths seem to float about in unison with the drum programming, and it is again an incredibly captivating experience. I will certainly file D&B under the Mentor banner for future listening.

T.R. Jordan - Encoder Error (Electronic / Ambient)



This is not only one of my favourite albums from 2022, but already what I would consider an ambient classic. I have played countless times since I purchased early this year, and it's often an album I choose when I can't sleep, something that happens all too often these days. Anyway, I know the album intimately well, and am reasonably fussy about how I hear it. Mentor does a very good job, but I would say falls a little short of excellence - this is where Turii Ti steps in for me, I prefer the more 'gentle' tuning, the airy presentation, which for me is more natural and organic sounding for this genre. Don't get me wrong, I could absolutely happily enjoy/love/adore this album on Mentor, but I'd be less likely to reach for this set for this music while Turii Ti is in reach.

Symbolico - Gaian Portal



This is a work of production genius, and an ideal track to test the technical capabilities of a set - and indeed to experience an utterly visceral experience when the right drivers are plugged into your ears. Again, we are back in a territory here where Mentor shines, an absolutely perfect set to capture all of the intricate details that spread out across the huge stage, new sounds presenting themselves, while others fade out into the distance, climatic moments that likely have every single driver in Mentor firing on all cylinders, and proving the technical prowess of tuning achieved here. It's honestly a fascinating, and highly engaging experience to hear this track on a well tuned IEM, and Mentor is as good as it gets in my experience.

Comparisons

Oriolus Traillii
While I no longer own, I am going to attempt a brief high-level comparison with the legendary Traillii from Oriolus. I adored Traillii, however that comes with two key caveats: the first being pressure build, and the second being the need for 'focus time' for me to properly enjoy, something I often noted when sharing impressions when I owned the bird. Traillii was a more gentle listen, I think more of a relaxed and smooth finesse to the tuning - it was because of this, I always had to focus my attention to really appreciate the tuning. Traillii has a bit more extension in the sub bass, while steps back in mid bass - Mentor certainly packs much more of a punch here, there was no mistaking the fact that Traillii is 'only' a BA driving the bass. Overall, Mentor is certainly a more energetic set. If it wasn't for the pressure issue that presented itself from time to time, I probably would have held on to Traillii for those magic moments of focused listening, it's certainly a complementary set to Mentor for those that can own both.



Softears Turii Ti
Mentor is in general much more impactful in it's tuning; the notes are larger across a much larger space, as such it grabs your attention in a more macro way - quantity of low-end is significantly enhanced, and lends itself above Turii Ti in general to more energetic genres - Turii has a more graceful tuning, an airiness that is somewhat gentle and in my experience, instruments such as strings or piano sound more authentic and ethereal. While Mentor can comfortably play strings, and do so very well, I would certainly choose Turii Ti for this type of music as I feel the weight and density of notes are excessive in comparion when I play on Mentor, Turii Ti is more visceral for genres that focus on strings, vocals, acoustic etc. Either set can play any genre, and Mentor on the whole a stronger all-rounder, but Turii Ti has it's superpowers in my opinion from a timbre perspective with specific instruments or genres. Taking a genre like Modern Classical, Mentor will 'wow' you with the vast stage, and stunning imaging and layering - Turii Ti steps back in that regard, but for me at least, wins the timbre prize, and becomes a lot more emotionally engaging as a result.



Conclusion

The Unique Melody 'Multiverse' Mentor is without question the most impressive, and I would say 'best' IEM I've heard - it comfortably surpasses both Jewel and Traillii by quite a margin, combining a superb blend of sheer listening engagement, and world-class technical mastery. It's hard to label an IEM as 'perfect', because that is quite a statement, but I feel inclined to say it's certainly incredibly close in terms of at least some of my listening preferences - maybe a DD for bass, maybe some timbre improvements, and maybe remove those brief upper mid challenges that pop up on a rare occassion, that might just allow me to say Mentor is perfect - but on the flip side, these changes will have a knock-on affect, and Mentor would no longer be what Mentor is today - an exceptional set, that delivers on a vast amount of fronts, and absolutely earns a seat at the table of the best IEMs on the planet, or indeed the multiverse...

iKKO Asgard OH5 Single Dynamic Driver ($489.99)

Introduction & Caveats

I've known the iKKO brand from seeing mentions of the popular OH10, but up to now had not yet tried any of their products. When they announced the OH5 a few weeks ago, I was intrigued by the fact they use lithium-magnesium for the driver, which apparently is an industry first in an IEM, but more commonly used in speaker systems - this along with the price (as it's potentially ambitious to hit this mid-tier section of the market), grabbed my attention.

I purchased the OH5 directly from iKKO with a small discount in exchange for a review. As always, thoughts are all mine, with no input or pre-reading from the brand. The OH5 is available directly from iKKO Audio HERE

As is evident in my signature on Head-Fi, I have a huge passion for single dynamic drivers and always curious to hear the various signatures across the price segments.

Finally, I’m not a professional reviewer, I enjoy sharing impressions of various sets I try with the Head-Fi community.

Specifications



Unboxing & Accessories

The unboxing experience is very good, a nice presentation with jewellery style tray containing various accessories such as the tips and case.





I like how the shells sit in this upper segment - however, they were actually difficult to extract, it took me a couple of minutes to shift them, I would suggest to iKKO that they provide a ribbon/string or something to pull them out.







Cable

I'm not a fan of the cable as I find it too rigid and thick - I don't mind a heavier cable on some IEMs when I don't plan to move about, but I typically use single DDs moving around the house, out walking, and travelling - the stock cable from my perspective is not suitable, but this may well be subjective. A design flaw however is definitely the modular system for the various jacks - there is no locking mechanism, and if you don't unplug nearer to the connection on your audio device, it is very easy to detach. It's an attractive looking cable, and certainly feels well-built and premium, just not to my taste unfortunately... YMMV!

The cable is terminated to the shells with a flat 2-pin plug.



The aforementioned modular system - which as noted, does not have a locking mechanism. To be fair, it does feel quite solid when connected, but I have accidentally disconnected a couple of times - it would definitely make more sense to have some sort of locking mechanism, as per the likes of DUNU. The cable is supplied with 3.5mm, 2.5mm, and 4.4mm connectors.



Case

A nice case, even if quite big - I guess that's to accomodate the cable as it's not really possible to wrap up in a small bundle due to the thickness and rigidity.



Tips

There are an excellent selection of stock tips provided, to include numerous sizes in two varieties (oval and circular) of both silicone and foam. I really like the oval foam tips with the narrow bore.

Design & Fit

The shells are a weird shape and certainly look like they might cause some ears a bit of bother. I am finding that I'm ok for about an hour or so, after which I can feel some fatigue - nothing awful, I've had much worse and I could actually keep listening, but I do note that it occurs. I still need to explore more 3rd party tips in my collection, and determine if that helps - as noted however, I do really like the shorter stock foam tips from an SQ perspective, so they've been on most of the time.



Listening Impressions

I listen to a very wide range of genres, and tend to enjoy most IEMs in some shape or form, as I will most likely find synergy somewhere in my collection. These genres range from ambient to techno, acoustic to indie rock and pretty much all in between. It is incredibly rare that I land upon an IEM that I simply do not like - maybe I'm easy to please, or not especially fussy!

A lot of my listening has been via the Lotoo Paw 6000, and at times also the Shanling M9.



The OH5 is a set for those who prefer an overall warmer tonality, with a prominent bass focus - treble is somewhat subdued, but has reasonable presence. It is the sort of set that in my experience sucks you in to its silky smooth, lush presentation, one I’m finding is often making me just sit back and get lost in the music. The soundstage is relatively intimate (more on this later), but with a very good sense of imaging and layering. They definitely require some brain burn-in, especially if switching from a more resolving set - they can sound a bit too warm, or even somewhat muddy at first, but after a few minutes they reveal their charm. Just to note also, for the purpose of the review, I did use the stock cable.

Bass

The theme of OH5 is probably clear by now: warm and emotive tuning, which is very evident from a bass perspective as it forms the foundation for this signature. There is excellent impact to mid bass, with very good slam when called for. Sub bass extends well, with nice rumble and good distinction from mid bass. I can certainly point to sets that offer more sub extension, IE600 or IE900 both great examples, but I doubt many will be left wanting here.

Mids

Lush, captivating, and highly emotive mids - but still with good clarity, albeit not the most airy. There is ample room in the mids for even the most congested or busy tracks, and with extensive listening, I've not heard any difficulty here, even with the most complex of tracks. Vocals typically sit very central, and I would say pretty much in-line with instruments for the most part.

Treble

The treble is distinct, but very smooth - it won't have the absolute sparkle that some might seek, but it has good energy in percussion or instruments that extend into those higher ranges. It's actually quite interesting, as when I listen to tracks with complex percussion for example, I can clearly hear hi-hats, snares etc with excellent timbre, yet they have a smooth finish, maybe just falling very short of sparkle... the big plus here is that it is highly unlikely you will encounter any harshness or sibilance. I actually love what they've acheived here in the tuning, and wonder whether the use of lithium-magnesium plays a role.

Technical

The soundstage is mostly within my head, maybe extending somewhat outside - iKKO note in their marketing materials that it is a 'home theatre in an IEM, with an opera like soundstage' - I guess it depends on the size of the home theatre as it's not massive, but does indeed render in terms of imaging, layering, and overall separation incredibly well - it is easy to pinpoint sounds etc within the stage, even with the overall lush/warm/smooth tuning. I think it's probably fair to say the soundstage is somewhat holographic, and occupies a large area within my head.

Genre Compatibility & Test Tracks

I'm going to use a method I tested in my review for the Turii Ti in October, and more recently with Fir KR5 - that being a list of tracks/genres, and how suited I feel OH5 is to each genre following my testing. The ranking equates to how suited the track is to OH5, and the genre confidence level represents the extent to which I feel confident of the broader genre suiting OH5 - this is mostly based on how much time I've listened to each genre. Again, this is experimental, and I'd appreciate any comments on how I might tweak this moving forward - the idea being to try give a sense as to what genres I feel work best with an IEM. Overall, I found OH5 is better suited to more recent tracks, and recordings that are of a higher quality of production - 'Laika' from the below list is a great example, which sounds fantastic - 'Northern Sky' by Nick Drake not quite so good, but not bad either - I wouldn't buy OH5 if this was a genre of focus, likewise punk as another example.


Comparisons

Penon Vortex ($199)

Where OH5 goes for warm, emotive, lush tuning - Vortex is a clearer, more resolving listen. There is significantly more bass with OH5, and much warmer mids - Vortex is brighter overall, and as a result not only has better detail retrieval, but will be more suited to genres such as acoustic, vocals, etc. As an aside, I've not listened to Vortex in a while, it really is a fantastic DD and offers huge bang for buck. Oh and for those who know/own Vortex, I have removed the filters.

Sennheiser IE600 ($699)

The IE600 is again more resolving, but is more comparable versus OH5 in terms of bass - I would say it has greater mid bass impact and density, possibly as the mids are less lush in comparison to OH5 - sub also extends deeper. The IE600 treble has more extension, so again as per Vortex, there is superior detail retrieval. I would say soundstage are quite similar in size, the IE600 probably has the edge with the brighter uppers. Personally, I prefer the OH5 as I find it more engaging overall - this will be quite subjective though, and others may prefer the higher resolution of IE600.

Conclusion

I'm a big fan of the OH5, I find it an incredibly engaging, and highly emotive listen where I'm not focusing on specific details - it allows me to just become truly immersed in the music. I've found myself drawn to listen to them several times over the last few weeks, even with far more expensive sets nearby. It works well as an all-rounder, but I would suggest looking elsewhere if you are in the market for something more resolving or airy. I think it's fair to say it's quite 'safe' tuning, and one that anyone could enjoy, with pretty much any genre. Overall, I think iKKO have done a fantastic job with this IEM. I deduct half a mark due to the cable and shell shape, otherwise I would comfortably score a full 5/5.

Fir Audio Krypton 5 - $2,999 Hybrid IEM (Universal)

Introduction & Caveats

Fir Audio have been on my radar for quite a while - their branding has always drawn me to them, but only taken the plunge in the last few weeks with KR5. The XE6 gets huge praise from their latest range, and KR5 seems to be by comparison somewhat under the radar. I've tried the XE6 on a couple of occassions and it didn't really click, I found it a bit too warm/mid bass focused and somewhat overwhelming in that regard - I have however heard from a few fans of XE6 that it can take a little while to adjust, as such I might give it a chance again at some point, especially with how much I've fallen for the KR5. There is also the Neon 4, which again now has my interest.

As always, I like to note the fact that I am not a professional reviewer - this is my hobby, and I enjoy trying out various sets and sharing my thoughts. I often get a discount in exchange, but it in no way influences the content of my review - I choose the sets I am keen to try, and this typically means I've done a fair bit of research before pulling the trigger, getting a good sense as to whether it will be a set I will likely enjoy - and for the most part, this has been the case... hence my positive ratings. Some last longer than others, there are only so many I can afford or have the time to hold on to, and part of the enjoyment for me is testing various sets and determining how they compare to my existing collection - review spoiler: I feel KR5 have a place for the foreseeable future...

I would like to thank @MusicTeck as always for the opportunity and their industry-leading customer service.

The KR5 retails for $2,999 and is available from MusicTeck HERE



Specifications

Drivers
1x 10mm Kinetic Bass Dynamic Driver
1x OpenDriver Balanced Armature Driver for bass
2x OpenDriver Balanced Armature Driver for mids
1x OpenDriver Balanced Armature Driver for highs (with Sound Reflector)

Tech
Freq. Range: 20-20kHz
Impedance: 22ohms

Features
Machined Aluminum Shells
Sapphire Glass Faceplates
ATOM XS Interchangeable Modules

Unboxing & Accessories

The KR5 arrives in a small box, with a nice premium finish and design. As someone who really enjoys branding (as noted in previous reviews, I worked in consumer electronics for many years), these jumped out at me immediately as something special - it's clear to me that Fir Audio have an excellent branding focus from the minute the box was in my hand.











Cable
I was using a 3rd party cable for the first few weeks but switched to the stock cable recently - I think the stock is excellent, a very light/supple cable that absolutely matches the aesthetic of the IEMs in that they allow for extending listening in any scenario. They wrap up neatly, sit over my ears with zero discomfort - unless you've a thing for cable rolling, I can see absolutely no reason to change this excellent stock cable.



Case
I adore the case - I mentioned in my review a few weeks ago for the wonderful Turii Ti how I love this style of case, and I was delighted to see the same with KR5. It looks and feels premium, plus is functional in how you actually store the KR5 when not in use. The feature to store tips and the tuning filters is very cool too, even though I've no idea how to take out those filters...



Tips
A rather small selection which are embedded into the base of the case (unintended rhyming there) - actually a handy feature to have them 'to hand' (sorry, I'll get my coat...) You get 2 x double flange, and two x silicone in the case, and one other set loose (in a bag) in the box. Most of my listening has been either using the SpinFit W1 or AET07, both have provided an excellent fit and fantastic comfort - plus of course contrasting sound performance, both offering a unique slant on the tuning. I did try the stock tips, but couldn't get a good fit with any of them.



Filters
I'm sure this is a case of me being stupid, but I cannot for the life of me unscrew the filters from the holder in the case - as such, I won't be commenting on how they impact the sound quality. I have tried to unscrew using the supplied tool, but it just twists endlessly. If someone would like to enlighten me on the process, please feel free to drop a comment!

Design & Fit

The shells are quite deceptive in terms of size and weight until you actually hold them in your hands or indeed, plug them into your ears. They are beautifully designed metal shells that while they have a good weight, they are by no means too heavy when in my ears - in addition, they are a nice and small size, and fit wonderfully - in fact, they've sort of shook up my future criteria for buying IEMs in that I will certainly focus more so on smaller shells, I don't really get along with bigger/hefty shells. I can say with confidence these have raised the bar for me in terms of multi driver sets in size and comfort, and overall attention to detail in their design - really stunning.

I will say however, probably best to have some 3rd party tips to hand, I know I'm not alone in having trouble with the stock tips - none of which worked for me as previously noted.



The 2-pin connection is flat, which would usually bother me as I tend to prefer recessed, but when using the stock cable, it sits perfectly on the shell.



Listening Impressions

KR5 have been a bit of a slow burner over the last few weeks - I've grown to love them, but certainly liked them from the start... along with Turii Ti, they together address every shelf of my diverse genre library, and could easily allow me retire from buying IEMs for quite a while (but that clearly isn't very likely...) They have a smooth, but very detailed signature - rather unique to my ears, in that you can clearly zoom in on the detail, but the overall tuning is quite relaxing at the same time. It's potentially an analogy that can be cheesy, or even frowned upon, but I'll use it none-the-less: KR5 sound to me more like vinyl, they have that smooth, robust, engrossing sound that really reminds me of kicking back and listening to vinyl through my 2-channel system - hence the above image.

I've been using a mix of the Shanling M9, and Lotoo Paw Gold Touch (LPGT) - I can't really say that I've a preference for one or the other, the M9 drives that wonderful bass to it's peak levels, and has an overall more analogue and smooth presentation - LPGT is a more neutral DAP, and this is somewhat more evident in the pairing in that the bass isn't as prominent, and I would say the KR5 technical capability is a bit more to the fore. The KR5 is easy to drive, and I'd be surprised if it didn't sound fantastic with any source.

I'm going to use a method I tested in my review for the Turii Ti last month, that being a list of tracks/genres, and how suited I feel KR5 is to each genre following my testing. The ranking equates to how suited the track is to KR5, and the genre confidence level represents the extent to which I feel confident of the broader genre suiting KR5 - this is mostly based on how much time I've listened to each genre. Again, this is experimental, and I'd appreciate any comments on how I might tweak this moving forward - the idea being to try give a sense as to what genres I feel work best with an IEM.


Overall, I would say KR5 are a solid performer with any genre I've tested, but indeed they do better with some more than others. I would be less inclined for example to reach for them when it comes to modern classical, a genre I listen to a lot and Turii Ti reign supreme in that regard (not to say I wouldn't listen on KR5, they still do a splendid job). But nothing sounds bad, and everything at the least sounds very good. For my personal listening preferences, I see KR5 being a set that I'll mostly use for more energetic electronic music - probably due to the highly addictive bass, and somewhat matching treble. I would say the tuning is probably somewhat U-shaped, where both the bass and treble have a degree of prominence, but only slightly - I don't think the mids are recessed, just not as emphasised maybe. There is excellent cohesion, I don't hear any specific drivers making their presence feel out of sync - I am somewhat sensitive to that, and it's an instant fail if I hear a driver being too dominant in the mix.

Bass

Mid bass thumps with a sense of something much larger than the dynamic driver occupying the space inside KR5 - it really is quite phenomenal how such a small driver packs this much of a punch. Sub bass extends to excellent depth, and really complements mid bass in terms of what one might seek from the low end frequency in an IEM. There is a wonderful blend of quality and quantity, both of which you get in abundance. The 'Kinetic' bass clearly delivers here, offering a low end that I'd be surprised if anyone felt short-changed by. The bass does set the scene for an overall warmth to the tuning, which I think gives it a nice organic feel to the tuning. In addition, and again I suspect it's the Kinetic driver at work, the bass and sub bass in particular has a sense of a separate sub woofer, where you can hear/feel it's presence in a very distinct and separate manner, yet still cohesive.

Mids

This is potentially the 'risky' zone, as KR5 is known to pull back on upper mids, and indeed I have found where this is sometimes applicable... but not as bad as I thought it might have been. The issue I find is female vocals, they have a bit more weight to them that I would like - I guess that upper mids recess showing it's presence by not allowing female vocals to have that height one might expect. Male vocals, and instruments within the mids are full-bodied and have a lush, vibrant presence.There is excellent detail in the mids, and plenty of room for complex or busy tracks without ever even touching on any sense of congestion.

Treble

Crisp, succint, pristine, and detailed - but never harsh. I again have read some reports where this can be considered a riskly zone, maybe it's my older ears, but I've have had zero problems here. The upper frequencies certainly contribute to the ability to drive the micro details, albeit in what I consider a somewhat polite way. I've found recently that I really appreciate a set that can present realistic percussion in terms of the snares, hats etc and KR5 ticks that box perfectly.

Technical

Large stage: check / high resolution: check / timbre: check(ish) - but with a for-my-ears unique blending in the overall smooth delivery of tuning. You get the detail, but never in your face or over the top technical. You get the smoothness, but not at the expense of detail - this is an incredible balance, and unlike anything I've heard to date. I must note, that from a timbre perspective, I find a set like Turii Ti is better when it comes to strings, piano, etc - the single DD tuning provides a more realistic/life-like rendering - that's not to say KR5 is bad, but the Ti in my experience is better. Imaging and layering is top notch, as you would expect at this level - there is an excellent sense of spatial positioning, and with an overall smooth/lush presentation, it still has a somewhat intimate vibe.



Comparisons

I don't have anything in my collection right now that for me makes sense to compare - all others are single DDs, or much cheaper hybrids. That is due to change however, and I might update this in a few weeks.

Conclusion

I have to say, I had high expectations coming into KR5, and they've actually been exceeded. Along with Turii Ti, they've actually stopped me in my tracks - I've not had anything else on my radar for the last few weeks, and that is quite a change from my normal behaviour*. The stunning balance of detail, smoothness, impactfull / visceral bass, and crisp treble is not something I've encountered in my IEM journey so far, and these have hit another sweet spot in my collection in the same way as Turii Ti have. They look stunning, have amazing/premium build quality, and sound fantastic - it's absolutely clear to me that Fir Audio are a brand at the top of their game, and deserve every plaudit for their spectacular products. It's not often I can say that I can comfortably wear a set for hours on end, and have absolutely zero discomfort - that is the case with KR5, and coupled with the stunning sound quality, earns them a place to remain in my collection for a long time. An unquestionable 5/5 review for me, I adore them.

Oh and did I mention they have spectacular bass?!



*This was first written about two weeks ago, and such is the nature of the hobby, I have since purchased another set