Reviews by Sonic Sleuth

Preface:

I borrowed this unit from a dear friend and have been using it for over a month as my dedicated DAP.

I'm not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment's sound and that's it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by iBasso or any other entity for this review. My assessment is based solely on my personal experience with the product.

Introduction:

iBasso is known for consistently delivering high-quality sources that punch above their weight. I personally own / owned serveral of their sources like DC07 Pro, DC Elite, D16, PB5 etc. Their DAPs like the DX320, DX320 Max have earned them a reputation for innovation and sonic excellence. The DX260, their latest offering, seems to be a culmination of their expertise, promising a no-compromise portable listening experience.



Box Contents:

• IBasso DX260 Player
• USB-C Cable
• Coaxial Cable
• TPU Case
• Screen Protector
• Warranty Card
• Quick Start Guide

Unboxing Experience​

The DX260 arrives in a compact and well-organized package. Inside, I found the DAP itself, along with a Type C cable, TRS Coax cable, TPU case, a screen protector, and a quick start guide. The unboxing experience was straightforward and efficient, with no unnecessary frills. The packaging is similar to their previous DAPs.







Design and Build:

The DX260 boasts a sleek and modern design, but it's not without its quirks. The aluminum chassis feels reassuringly solid and well-built, but the edges are a bit sharper than I'd prefer. Thankfully, the included case mitigates this issue, providing a more comfortable grip.



The volume knob is a standout feature, offering a satisfyingly tactile feel with just the right amount of resistance. It's easy to make precise adjustments, and the push-to-wake functionality is a nice touch which you'll find on all their DAPs. The track skip and play/pause buttons are conveniently located right under the volume knob, making them easy to access with a thumb.







One aspect I appreciate is the easily removable back glass, secured by just a couple of screws. This allows for easy access to the battery, which can be replaced if needed – a welcome feature for ensuring the longevity of the device.



The port placement is well-thought-out, and caters well to using the DX260 with other iBasso sources. The USB-C port is conveniently located on the top, along with the dedicated 3.5mm coaxial output. This setup makes it incredibly convenient to use the DX260 as a transport with my iBasso D16, as the cables are neatly out of the way. And having the 3.5mm and 4.4mm headphone/line outputs at the bottom of the device makes for a seamless connection with my PB5 and Aroma A100TB. No fiddling with screen orientation is required to make sure the UI is facing me.

Driveability​

The DX260 has commendable driveability at 280mW@32ohm on it's 3.5mm SE output and 1015mW @32ohm on its 4.4mm balanced out.

IEMs​

The DX260 is a natural companion for IEMs. It delivers a clean, detailed sound with excellent dynamics and resolution. The balanced output further enhances the soundstage and separation, creating a truly immersive experience.

Low Impedance Headphones​

The DX260 handles low-impedance headphones with confidence. It delivers a powerful and dynamic sound without any hint of distortion or clipping.

• ZMF Bokeh: With the Bokeh, the DX260 delivers a punchy and engaging sound. The bass is tight and controlled, the midrange is lush and detailed, and the treble is smooth and extended. It's a thoroughly enjoyable pairing.
• Focal Clear MG: The Clear MG, known for its detailed and revealing nature, pairs well with the DX260's transparency. The DAP effortlessly drives the Clear MG, providing ample headroom and control. However, I did notice a slight tendency for the treble to become a bit hot with this pairing, especially at higher volumes.
• Focal Utopia: Even the demanding Utopia is driven with respectable authority. The DX260 delivers a spacious soundstage and impressive detail retrieval. However, I did find that the Utopia's dynamic range and slam were slightly constrained compared to when driven by a more powerful amplifier.

High Impedance Headphones​

The DX260's amplifier section is capable of driving high-impedance headphones, but its limitations become more apparent with these demanding loads.

• Sennheiser HD600/650/800: The DX260 adequately drives the HD600 and HD650, delivering a balanced and detailed sound. However, with the HD800, I noticed a significant drop in dynamic impact and overall engagement. The soundstage also felt somewhat compressed compared to when driven by a dedicated headphone amplifier.

Planar Magnetic Headphones​

The DX260's balanced output can drive moderately demanding planar magnetic headphones, but its performance varies depending on the specific model.

• Audeze LCD-3: The DX260 drives the LCD-3 with decent authority, delivering a spacious soundstage and a natural timbre. However, the overall presentation lacks some of the slam and impact that I expect from it.
• FiiO FT1 Pro: The FT1 Pro, being a more sensitive planar magnetic headphone, fares better with the DX260. The DAP delivers a clean and detailed sound with good dynamics and resolution. However, I still found that the overall presentation lacked a bit of the visceral punch that I know it can deliver.

Battery Life:

The DX260's battery life is a bit of a mixed bag, and it largely depends on how you're using the device but it definitely falls in line with most streaming DAPs.

• IEMs:With IEMs, I generally get around 8-10 hours of playback time on a single charge, which is decent.
• Headphones:When using more demanding headphones, especially high-impedance or planar magnetic models, the battery life takes a noticeable hit, dropping to around 6-8 hours.
• Offline Tracks:Playing locally stored, offline tracks tends to be more battery-efficient, allowing me to squeeze out a bit more listening time compared to streaming.
• Streaming with Apple Music & Tidal:Streaming services like Apple Music and Tidal consume more power due to the constant data transmission and processing. In my experience, streaming reduces the battery life by about 20-30%.
• Mango OS Mode: Using the DX260 in Mango OS mode, which disables Wi-Fi and Bluetooth, can slightly improve battery life. However, the difference is not substantial, perhaps adding an extra 30 minutes to an hour of playback time.

Sound Analysis:

Tonality:

The DX260 walks a fine line with its tonality. It aims for neutrality, like a well-behaved studio monitor presenting the music without any added fluff. But like a monitor with a slight personality quirk, it's not entirely devoid of character.

Melody Gardot - Your Heart is as Black as Night:Gardot's smoky vocals have an intimate, almost haunting quality, and the DX260 captures this beautifully. The instruments are well-defined, and the overall presentation is clean and detailed. However, as I let the music wash over me, I couldn't shake the feeling that a touch more warmth would elevate the emotional impact. The slight dryness prevents the track from fully enveloping me in its smoky embrace.

Infected Mushroom - Becoming Insane: This track is a chaotic masterpiece of electronica, and the DX260 handles the complexity admirably. Layers of synths, pulsating bass, and intricate percussion are all presented with impressive clarity and separation. Yet, amidst the technical proficiency, I yearn for a bit more oomph. The presentation feels slightly clinical, lacking the raw energy and drive that would truly make this track explode.

Sub-Bass:

The DX260's sub-bass is a bit of an enigma. It dives deep with impressive control and texture.

Massive Attack - Teardrop:The deep, pulsating bassline in "Teardrop" is a test for any audio system, and the DX260 mostly rises to the occasion. The bass is deep, textured, and controlled, providing a solid foundation for the track's haunting atmosphere. However, as the song progresses, I notice a slight roll-off in the very lowest frequencies, preventing the track from reaching its full potential for visceral impact. It's like the bass has been subtly tamed, robbing it of some of its raw power.

LORDE - Royals:This track further reveals the DX260's occasional struggle with sub-bass weight. The deep bass notes that underpin the song, while present, lack the visceral punch and authority that I crave. It's like the bass is holding back, preventing the track from truly shaking me to my core.

Mid-bass:

Now this is where the DX260 truly shines! The mid-bass is punchy, textured, and agile, injecting a healthy dose of fun into any track that demands it.

Daft Punk - Lose Yourself to Dance:This track is a mid-bass lover's dream, and the DX260 delivers with gusto. The bassline is tight, punchy, and textured, providing the perfect foundation for the track's infectious groove. It's the kind of performance that makes you want to get up and dance, and the DX260 doesn't miss a beat.

Rage Against the Machine - Killing in the Name:If "Lose Yourself to Dance" is a playful dance, then "Killing in the Name" is a full-on mosh pit. The aggressive bassline and driving drums are a test of any DAP's mettle, and the DX260 emerges victorious. The bass is powerful and impactful, yet it never loses its control or definition, ensuring a thrilling and visceral listening experience.

Lower Midrange:

The lower midrange is where the DX260's pursuit of neutrality reveals a slight trade-off. While it delivers clarity and articulation, it sometimes comes at the expense of warmth and fullness.

Johnny Cash - Hurt:Johnny Cash's iconic baritone is reproduced with impressive clarity and detail, but I can't help but feel a subtle lack of warmth. It's like the emotion in his voice is being held at arm's length, preventing the track from fully resonating with my soul.

Adele - Rolling in the Deep:Adele's powerful vocals are another example of the DX260's lower midrange conundrum. While her voice is presented with impressive clarity and control, the slight leanness in the lower midrange prevents it from achieving its full emotional weight and richness. It's like the foundation of her voice is missing a few bricks, leaving it feeling slightly less grounded.

Upper Midrange:

Thankfully, the upper midrange is a return to form for the DX260. It's clear, detailed, and free of any harshness or sibilance, allowing vocals and instruments to shine in all their glory.

Chris Cornell - Nothing Compares 2 U:Chris Cornell's powerful and emotive vocals soar through the mix with breathtaking clarity and detail. The DX260 handles the dynamics and nuances of his voice with finesse, never veering into harshness or sibilance, even during the most intense moments. It's a truly captivating performance, and the DX260 does it justice.

Sarah McLachlan - Angel:Sarah McLachlan's ethereal vocals are reproduced with a delicate touch, capturing the nuances and fragility of her performance. The upper midrange is smooth and refined, allowing her voice to soar without any hint of fatigue or strain. It's a beautiful rendition that showcases the DX260's ability to handle delicate vocals with grace.

Lower Treble:

The lower treble is another area where the DX260 excels. It's extended, detailed, and airy, giving instruments in this range a wonderful sense of presence and sparkle.

The Eagles - Hotel California:The iconic guitar solo in "Hotel California" is a testament to the DX260's lower treble prowess. The notes are crisp, clear, and detailed, with a natural shimmer and decay that adds to the realism of the performance. It's like Don Felder and Joe Walsh are right there in the room with you, their guitars singing with passion and precision.

Pink Floyd - Money:The cash register and coin sound effects in "Money" are a fun way to test a DAP's lower treble detail retrieval, and the DX260 doesn't disappoint. The sounds are reproduced with remarkable clarity and detail, adding a touch of realism to this classic track.

Upper Treble:

The DX260's upper treble is a bit of a balancing act. It's extended and airy, but not overly emphasized. There's a touch of sparkle, but it's sometimes a bit too restrained for my liking.

Sigur Rós - Hoppípolla:The ethereal soundscapes in "Hoppípolla" are beautifully rendered, with a delicate shimmer and airiness. However, I can't help but feel that the upper treble could benefit from a bit more energy and sparkle. It's like the music is being held back, preventing it from truly taking flight.

Queen - Bicycle Race:The complex instrumentation and layered vocals in "Bicycle Race" are well-served by the DX260's upper treble, which provides detail and air without becoming harsh or fatiguing. However, I do notice that some of the highest frequencies are slightly rolled off, robbing the track of some of its brilliance and excitement.

Soundstage:

The DX260's soundstage is a spacious and immersive playground for your music. It's wide, deep, and tall, creating a holographic image that extends beyond the confines of your headphones.

Pink Floyd - Wish You Were Here:The expansive soundstage in "Wish You Were Here" is breathtaking. The guitars are placed wide apart, the vocals are centered, and the various sound effects create a sense of depth and immersion that's truly captivating. It's like being transported to another world, where the music surrounds you and envelops you in its sonic embrace.

Hans Zimmer - Time:The orchestral swells and dynamic percussion in "Time" are given ample room to breathe, thanks to the DX260's impressive soundstage. It's like being in the concert hall, with the music swirling around you and filling the space with its grandeur.

Layering and Separation:

Even with the most complex and layered tracks, the DX260 maintains excellent layering and separation, allowing you to hear each individual instrument and vocal line with remarkable clarity.

Dream Theater - The Count of Tuscany:This prog-metal epic is a true test of any audio system's ability to handle complexity, and the DX260 passes with flying colors. The intricate instrumentation and layered vocals are all clearly defined and separated, creating a sense of order amidst the chaos. It's like having an audio microscope, allowing you to peer into the intricacies of the music and appreciate the individual contributions of each element.

Opeth - Blackwater Park:Another challenging track, "Blackwater Park" showcases the DX260's ability to handle dynamic shifts and complex arrangements with remarkable precision. The layering and separation are superb, even during the most intense passages, allowing you to fully appreciate the nuances of the music.

Timbre:

The DX260's timbre is generally natural and realistic, but there's a subtle artificiality that prevents it from achieving true sonic perfection.

John Mayer - Gravity:John Mayer's guitar playing is reproduced with a natural warmth and resonance, capturing the nuances of his technique and the character of his instrument. However, there's a slight metallic sheen to the notes that prevents them from sounding completely organic. It's like the guitar has been polished a bit too much, robbing it of some of its natural grit and texture.

Norah Jones - Don't Know Why:Norah Jones' vocals are smooth and velvety, with a natural timbre that draws you into the song. However, there's a subtle hint of artificiality to her voice, like a thin veil that prevents it from fully connecting with the listener.

Coherence:

The DX260's frequency response is generally well-integrated, with no glaring gaps or imbalances. However, there's a subtle disconnect between the different frequency ranges that prevents it from achieving true sonic cohesion.

Steely Dan - Aja:The complex arrangements and intricate harmonies in "Aja" are presented with impressive clarity and detail, but the overall presentation lacks a sense of seamlessness. It's like the different instruments and vocals are occupying separate sonic spaces, rather than blending together to form a cohesive whole.

Queen - Bohemian Rhapsody:The dynamic shifts and genre-bending composition of "Bohemian Rhapsody" are handled with competence, but the transitions between the different sections feel somewhat abrupt. It's like the music is being presented in separate chapters, rather than flowing seamlessly from one section to the next.

Detail Retrieval:

The DX260 is undoubtedly a detail-retrieval powerhouse, capable of uncovering subtle nuances and micro-details that might be missed on lesser DAPs. However, this analytical prowess sometimes comes at the expense of musicality.

Miles Davis - So What:The subtle inflections and nuances of Miles Davis' trumpet playing are laid bare, allowing you to appreciate his artistry on a deeper level. However, the presentation can feel a bit too analytical, like a forensic examination of the music rather than an emotional experience.

Beethoven's Symphony No. 5:The dynamic contrasts and intricate interplay between the different sections of the orchestra are rendered with stunning clarity, but the overall presentation lacks a sense of flow and organic unity. It's like the music has been dissected and laid out for inspection, rather than being presented as a living, breathing entity.

Micro Dynamics:

The DX260 excels at reproducing micro dynamics, capturing the subtle variations in volume and intensity that bring music to life. However, this attention to detail can sometimes come at the expense of macro dynamics.

Chopin's Nocturnes:The delicate variations in touch and dynamics in Chopin's Nocturnes are beautifully rendered, allowing you to appreciate the emotional depth of the music. However, the larger-scale dynamic shifts lack the weight and impact that would truly convey the full emotional range of the piece.

Keith Jarrett's The Köln Concert:The improvisational nature of "The Köln Concert" is captured with impressive realism, thanks to the DX260's ability to reproduce micro dynamics. However, the overall performance lacks a sense of spontaneity and excitement, as if the music is being held back by a subtle restraint.

Macro Dynamics:

The DX260's macro dynamics are generally good, but not exceptional. It's capable of handling large-scale dynamic shifts, but it doesn't quite convey the full visceral impact of those shifts.

Stravinsky's The Rite of Spring:The explosive dynamic shifts in "The Rite of Spring" are reproduced with decent realism, but the overall presentation lacks the raw power and intensity that would truly make this piece come alive. It's like the music is being played at a slightly lower volume than it should be, preventing it from achieving its full dramatic effect.

Metallica - Master of Puppets:The aggressive riffs and dynamic shifts in "Master of Puppets" are handled competently, but the overall presentation lacks the visceral punch and excitement that would truly make this track a headbanger's delight. It's like the music is being held back by a subtle leash, preventing it from fully unleashing its fury.

Pairing with External Amps:

Aroma A100TB:

Connecting the DX260 to the Aroma A100TB via the 4.4mm balanced output introduces subtle but worthwhile changes to the sound. A100TB injects a touch of warmth and smoothness into the DX260's presentation. This adds a sense of musicality and engagement, particularly with genres that benefit from a richer tonality. While the DX260's internal amp is no slouch in the dynamics department, the A100TB elevates the performance further. There's a greater sense of micro-dynamic nuance, and macro-dynamics hit with more authority. The A100TB doesn't drastically alter the soundstage, but it does contribute to a slightly wider and deeper presentation. This adds a touch more air and separation between instruments. The added warmth and musicality can come at a slight expense of transparency and detail retrieval. The overall presentation becomes a touch smoother, which might not be ideal for those who prioritize ultimate resolution and clarity.

iBasso PB5:

The iBasso PB5, which I feel is designed specifically to complement D16, offers a more substantial shift in performance compared to the A100TB.

The PB5 delivers a significant increase in power output, effortlessly driving even demanding headphones that the DX260's internal amp might struggle with. This translates to effortless control and headroom, even with power-hungry planar magnetic headphones. It delivers a noticeable improvement in dynamics and slam, making the music more impactful and visceral. This is particularly beneficial for genres like rock and electronic music that thrive on impactful transients. The PB5 adds a greater sense of depth to the soundstage, creating a more three-dimensional and immersive presentation.
All is not sunshine though, PB5 can introduce a slight emphasis in the bass region, which might not be ideal for those who prefer a strictly neutral presentation but I feel anyone who got the PB5 or is thinking of getting it, knows that it is not going to be neutral.

Conclusion:

So, after spending some quality time with the iBasso DX260, I can confidently say it's a compelling DAP with a lot to offer. Its neutral sound signature, detailed presentation, and punchy dynamics make it a versatile option for a wide range of musical genres. What truly sets the DX260 apart is its value proposition. It delivers a level of sonic performance that punches above its price point, rivaling DAPs that cost significantly more. And with features like a replaceable battery and dual boot with Mango OS, it offers a level of flexibility and longevity that's hard to beat.

If you're looking for a DAP that delivers a balanced, detailed, and engaging listening experience, DX260 deserves a serious look. It's a solid all-rounder.

Preface:

You can purchase KB02 at the following link (not an affiliate link):
https://keephifi.com/collections/kbear/products/kbear-kb02

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from KeepHiFi however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by KeepHiFi, KBEAR or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC Elite
• iBasso D16 Taipan
• iBasso DX260
• Dethonray Clarinet
• Chord Hugo 2 + 2go

Introduction:

KBEAR first caught my attention with their earlier releases like the Lark and the Diamond, which garnered praise for their balanced sound and comfortable fit. Now, they're back with the KB02, an IEM that pushes the boundaries with its bone conduction driver for sub-bass. I'm eager to see if KBEAR can continue their streak of delivering high-quality audio experiences at an affordable price point.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 09 pairs of silicone tips (3 X S/M/L)

Unboxing Experience

The KB02s arrive in a compact and understated package. There's a certain charm to its simplicity, as it avoids unnecessary extravagance and focuses on the essentials. Inside, you'll find the IEMs themselves nestled securely in a foam insert above a box which has a selection of ear tips and a 2-pin cable. The unboxing experience is straightforward and efficient, reflecting a no-frills approach that prioritizes practicality.







Design and Build

The KB02s sport a sleek and modern aesthetic. The faceplates are particularly striking, with a mesmerizing swirl of blue and purple hues that evoke the image of a galaxy swirling in your ears. It's a design that's both elegant and captivating, sure to draw attention.







The stock cable is supple and tangle-resistant, making it easy to manage on the go. The overall build quality is commendable, with a sturdy construction that inspires confidence. The IEMs feel solid and well-put-together, capable of withstanding the rigors of everyday use.



Wearing Comfort

The KB02s prioritize ergonomic design, ensuring a comfortable and secure fit. The lightweight resin shells disappear into your ears, making them suitable for extended listening sessions. The ear tips are soft and pliable, providing a good seal without excessive pressure.

Interestingly, the bone conduction driver adds another dimension to the wearing experience. You might perceive a subtle vibration against your ear as the bone conduction driver operates, particularly when listening to bass-heavy tracks. This sensation, while unusual at first, becomes quite intriguing over time, adding a unique tactile element to the listening experience.



Driveability

The KB02s are easy to drive, making them compatible with a wide range of devices without much gains in SQ with increase in power. Their relatively high sensitivity and low impedance allow them to reach satisfying listening volumes even with modest sources. This makes them a versatile option for folks on the go who don't want to be tethered to dedicated amplifiers or DAPs.



Sound Analysis:

Tonality

The KB02s don't follow the well-trodden path of strict neutrality. Instead, they embrace a warmer presentation that's like a comforting hug for your ears. The lower frequencies are subtly emphasized, creating a full-bodied and inviting soundscape. Yet, there's a vibrancy to the sound that prevents it from becoming dull or veiled. It's like adding a splash of vibrant color to a classic painting, giving it a modern twist. Intimate Jazz vocals are beautifully rendered with a sense of warmth and presence that draws you into the performance.

Sub Bass

Ah, the sub-bass, the realm of the bone conduction driver! This is where the KB02s start to show their quirky side. The sub-bass performance is surprisingly robust, reaching down into the depths with satisfying authority. The rumble is well-defined and controlled, with a decay that's tight enough to prevent it from overwhelming the rest of the mix. In Massive Attack's "Teardrop," the KB02 faithfully captures the deep, pulsating bassline that anchors the track's melancholic atmosphere.

Now, here's where things get interesting. In tracks with extremely low sub-bass frequencies, like James Blake's "Limit to Your Love," the bone conduction driver's limitations become apparent. The sub-bass can sound somewhat undefined, lacking the last bit of extension and control. It's like the driver is trying to reach a note just beyond its grasp, resulting in a slightly woolly quality. But hey, who needs those ultra-low frequencies anyway? I'm mostly kidding, of course, but it's a minor drawback in an otherwise impressive low-frequency performance.

Mid-Bass

Moving up the frequency spectrum, we arrive at the mid-bass, where the KB02 truly shines. It's as if the IEMs have a hidden turbocharger that kicks in when the music calls for it. The mid-bass has a satisfying punch and a pleasing texture that makes it a joy to listen to, especially for genres like EDM and hip-hop. The decay is slightly slower compared to the sub-bass, adding to the overall warmth and fullness of the sound. In Kendrick Lamar's "HUMBLE.," the KB02 delivers the impactful bassline with a satisfying thump that makes it impossible to resist nodding along.

Now, about that slower decay. While it contributes to the KB02's warm and inviting sound, it can sometimes lead to a slight lack of articulation in complex bass-heavy passages, like those found in Meshuggah's "Bleed." It's like the notes are slightly stepping on each other's toes, resulting in a less defined presentation. But let's be honest, if I'm listening to Meshuggah, I'm probably not too concerned about the last bit of mid-bass articulation.

Lower Midrange

The lower midrange is slightly elevated, contributing to the KB02's warm and inviting sound. Male vocals and instruments that occupy this region are presented with a full-bodied presence that doesn't sound bloated or overbearing. In Leonard Cohen's "Hallelujah," Cohen's deep baritone vocals are rendered with a rich and resonant quality that complements the song's somber mood.

However, this elevation in the lower midrange can occasionally result in a slight masking of micro-details in this region, especially in tracks with dense instrumentation, like those found in Opeth's "Blackwater Park." It's like some of the finer details are hiding in the shadows, making it slightly harder to pick them out. But fear not, the overall presentation is still enjoyable and engaging.

Upper Midrange

The upper midrange is where the KB02 walks a tightrope between warmth and clarity, and for the most part, it does so with impressive finesse. Female vocals and instruments in this region are presented with a natural and detailed quality that doesn't become harsh or sibilant. In Joni Mitchell's "A Case of You," Mitchell's delicate vocals are reproduced with stunning clarity and detail, allowing her voice to shine through the simple yet poignant accompaniment.

While the upper midrange is generally well-presented, it can occasionally sound slightly recessed compared to the lower midrange. This can sometimes affect the clarity and presence of certain instruments, like the violin in Hilary Hahn's performance of Bach's "Chaconne." It's like the violin is standing slightly further back on the stage, making it slightly less prominent in the mix.

Lower Treble

The lower treble is slightly forward, adding a touch of sparkle and presence to the overall sound. This doesn't translate to harshness or sibilance, though. The KB02 manages to keep the lower treble in check while still providing a satisfying level of detail and resolution. In Steely Dan's "Aja," the KB02 captures the intricate guitar work and layered synths with impressive clarity and definition.

In tracks with a lot of high-frequency energy, like those found in some metal subgenres, the lower treble can occasionally become slightly fatiguing over extended listening periods. It's like the cymbal crashes are a bit too intense, making you want to turn down the volume after a while. But for most genres, the lower treble presentation is enjoyable and engaging.

Upper Treble

The upper treble extends smoothly, adding a sense of air and spaciousness to the soundstage. While the KB02 doesn't emphasize the upper treble, it doesn't roll it off prematurely either. This ensures that high-frequency details are present without becoming harsh or fatiguing. In Explosions in the Sky's "Your Hand in Mine," the KB02 captures the shimmering textures and ethereal soundscapes with a delicate touch that adds to the song's expansive atmosphere.

While the upper treble performance is commendable, it can sometimes lack the last bit of sparkle and air, which can occasionally result in a slightly darker overall presentation. It's like the music is missing that final touch of brilliance, that airy shimmer that adds a sense of openness and space.

Soundstage

The KB02's soundstage is surprisingly wide and deep for an IEM at its price point. It's like the music is being performed in a concert hall rather than inside your head. The soundstage isn't artificially expansive, but it's well-proportioned and allows for accurate instrument placement. In Pink Floyd's "Shine On You Crazy Diamond," the KB02 creates a spacious soundstage that accurately positions the various instruments and vocals, creating an immersive listening experience.

While the soundstage is impressive, it can sometimes lack the last bit of height. This can occasionally result in a slightly less three-dimensional presentation. It's like the music is being performed on a slightly flatter stage, with less verticality and depth.

Layering and Separation

The KB02 excels at layering and separation, allowing listeners to easily distinguish individual instruments and vocals even in complex musical passages. It's like the IEM has a built-in sonic microscope that reveals the intricate details of the music. In Dream Theater's "The Count of Tuscany," the KB02 masterfully separates the various instrumental and vocal layers, allowing listeners to appreciate the song's complex arrangement.

In extremely busy passages with multiple instruments competing for attention, the KB02 can sometimes struggle to maintain complete separation, resulting in a slight loss of clarity. It's like the instruments are starting to blend together, making it slightly harder to pick out individual lines. But for most tracks, the layering and separation are impressive, allowing the music to breathe and unfold naturally.

Timbre

The KB02's timbre is generally natural and realistic, ensuring that instruments and vocals sound faithful to their real-world counterparts. The slight warmth in the lower frequencies adds a touch of richness and fullness to the timbre, making it particularly enjoyable for genres that benefit from a warmer presentation. In Yo-Yo Ma's performance of Bach's "Cello Suite No. 1," the KB02 accurately reproduces the timbre of the cello, capturing its rich and resonant tone.

The slight emphasis on the lower frequencies can sometimes result in a slightly thicker timbre for certain instruments, like the piano in Glenn Gould's performance of Bach's "Goldberg Variations." It's like the piano has a slightly richer and more resonant tone, which can be pleasing for some listeners but may not be to everyone's taste.

Coherence

The KB02 exhibits good coherence, with each part of the frequency spectrum integrating seamlessly with the others. It's like the IEM is a well-rehearsed orchestra, with all the sections playing in perfect harmony. This coherence contributes to the KB02's musical and engaging sound signature. In Queen's "Bohemian Rhapsody," the KB02 demonstrates good coherence by seamlessly blending the punchy bassline, Freddie Mercury's iconic vocals, and the soaring guitar solos.

The slight emphasis on the lower frequencies can sometimes result in a slightly less balanced presentation, especially in tracks with a lot of high-frequency energy. It's like the lower frequencies are slightly more prominent, which can sometimes overshadow the higher frequencies. But for most tracks, the coherence is excellent, creating a unified and harmonious sound.

Detail Retrieval

The KB02's detail retrieval is commendable for an IEM in its price range. It's like the IEM has a built-in magnifying glass that reveals the subtle nuances and micro-details in the music. In Dire Straits' "Sultans of Swing," the KB02 unveils the intricate guitar work, subtle backing vocals, and nuanced percussion that often get lost in less resolving IEMs.

While the detail retrieval is generally impressive, it can sometimes be slightly less precise in the upper midrange and treble regions, especially in tracks with complex high-frequency information. It's like the IEM is slightly less focused in these regions, resulting in a slightly less defined presentation. But for most tracks, the detail retrieval is excellent, allowing you to hear deep into the music and discover new nuances with each listen.

Conclusion:

The KBEAR KB02s are a fascinating entry in the budget IEM market. They offer a unique combination of features, including the bone conduction driver for sub-bass, a warm and engaging sound signature, and a comfortable fit. While they may not be the absolute best in any one area, their overall performance is impressive, especially considering their affordable price point.

In a market saturated with budget IEM options, the KB02s manage to stand out with their unique features and well-tuned sound. They are a testament to KBEAR's commitment to innovation and value, and I wouldn't hesitate to recommend them to anyone looking for a fun and engaging listening experience without breaking the bank.

Preface:

You can purchase C3 MKII at the following link (not an affiliate link):
https://www.linsoul.com/products/tinhifi-c3-mkii

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, TIN HiFi or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC Elite
• iBasso D16 Taipan
• Hiby RS6
• Chord Hugo 2 + 2go

Introduction:

TinHifi has steadily carved its niche in the budget audio world. They've consistently offered IEMs with commendable performance at affordable prices, and many of us have likely experienced one or two of their models over the years. Some of their notable releases include the T2, T3, and the original C3, all of which garnered praise for their sound quality relative to their cost. With the C3 MKII, TinHifi aims to build upon this legacy and deliver another compelling option in the budget segment.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 05 pairs of silicone tips
• Storage case

Unboxing Experience:

The IEMs arrived in a compact and sturdy box, with the C3 MKII units themselves in the storage case. Inside, I found a selection of ear tips in various sizes, which is always a welcome sight. The included carrying case was a bit larger than I expected, but hey, who am I to complain about extra space? It's perfect for storing the IEMs, extra tips, and even a small dongle if needed.



I'm not quite sure what TinHifi means by 'High Sex Energy' when describing the N52 neodymium magnet in the C3 MKII's driver. I'm assuming in less colorful terms, means it's a strong magnet that contributes to the driver's dynamic performance.



Design and Build:

The C3 MKII has an understated design. The resin shells have a smooth, polished finish that feels nice to the touch. They're not overly flashy, but they have a certain elegance to them. The shells feel robust for an IEM in this price range. The resin shells seem durable and I've been using them for a while now, and they've held up well to daily wear and tear.





Speaking of the cable, it's a fairly standard affair. It's black, relatively thin, and feels reasonably durable. While it's not the most premium cable I've encountered in this price bracket (I'm looking at you Dunu), it gets the job done without any fuss. The 3.5mm termination feels sturdy, and the y-split and chin slider are functional, though the slider can be a bit loose. I would have preferred a slightly tighter slider to keep it in place, but it's a minor quibble.



Wearing Comfort:

Comfort is paramount when it comes to IEMs, and the C3 MKII doesn't disappoint. The lightweight design and ergonomic shape make them disappear into my ears. I've worn them for hours on end without any discomfort. The ear tips create a good seal, which is crucial for both comfort and sound isolation.

One thing to note is that the C3 MKII is designed for a deeper fit. This might not be ideal for everyone, but I personally found it to be very comfortable and secure.





Driveability:

Although I could not find the impedance or sensitivity numbers anywhere, the C3 MKII is a breeze to drive. It's sensitive enough to be powered by most sources, including Type C to 3.5mm dongles. I've used them with my Google Type C to 3.5mm dongle, DC Elite and a dedicated DAP, and they've performed admirably with each. No need for a crazy powerful amp here!

Sound Analysis:

Tonality

The C3 MKII greets you with a balanced sound signature, but there's a subtle warmth that permeates the entire frequency spectrum, making it enjoyable for long listening sessions. This balanced approach makes it incredibly versatile across genres, handling everything from acoustic jazz to electronica with grace.

Sub Bass

The sub-bass on these IEMs is surprisingly potent for the price point, reaching down into the depths without ever becoming boomy or overpowering. It's clean, controlled, and adds a satisfying weight to bass-heavy tracks. Listening to "Limit to your love" by James Blake, I was genuinely impressed by how well the C3 MKII handled the deep, rumbling bassline. It maintained its composure even when things got intense, allowing the sub-bass to shine without muddying the rest of the mix.

While the sub-bass extension is commendable, hardcore bassheads might find themselves yearning for a bit more rumble and slam. In tracks like "Why so serious?" by Hans Zimmer, where the sub-bass frequencies are prominent and intended to be felt as much as heard, the C3 MKII's sub-bass, while present, lacks the visceral impact that some might desire.

Mid-bass

Ah, the mid-bass, where the C3 MKII's warmth truly comes alive! It's punchy, textured, and adds a delightful thump to kick drums and basslines. The decay is on the slightly slower side, which contributes to the overall warmth and fullness of the sound. This is where I personally feel the C3 MKII shines. "Madness" by Muse, with its driving bassline, absolutely slaps on these IEMs! The mid-bass provides that extra oomph that makes you want to tap your feet and nod your head.

In some instances, this slightly slower decay can lead to a minor lack of separation in busy tracks. In songs like "YYZ" by Rush, where the bass guitar and kick drum intertwine in intricate patterns, the C3 MKII might not offer the absolute cleanest separation between the two.

Lower Midrange

The lower midrange is where the magic of male vocals happens, and the C3 MKII doesn't disappoint! It's well-balanced and present, providing a solid foundation for those baritone voices and instruments that occupy this range. Listening to Johnny Cash's "Hurt," I was captivated by the richness and depth of his voice. The C3 MKII rendered his vocals with a natural warmth and presence that sent shivers down my spine.

While male vocals generally sound fantastic, some instruments in the lower midrange, like cellos, can occasionally sound a tad thick. In orchestral pieces like "Jupiter" from Gustav Holst's "The Planets," the cellos, while still enjoyable, lacked a bit of the definition and texture that I would have preferred.

Upper Midrange

The upper midrange is where female vocals and instruments like violins and trumpets take center stage. Thankfully, the C3 MKII handles this region with finesse. It's clear, detailed, and never harsh or fatiguing. In "Hide and Seek" by Imogen Heap, her ethereal vocals soar through the mix with incredible clarity and emotion.

One minor observation is a slight dip around the 4kHz mark, which can sometimes result in a subtle lack of presence for certain female vocals and instruments in that specific range. For example, in "Running Up That Hill" by Kate Bush, her vocals, while still clear and enjoyable, lacked a bit of the bite and edge that I'm accustomed to hearing.

Lower Treble

The lower treble is where things start to get sparkly! The C3 MKII strikes a good balance here, providing ample presence and detail without ever veering into harshness or sibilance. Cymbals shimmer, hi-hats sparkle, and there's a lovely sense of airiness to the overall presentation. Listening to "Take Five" by Dave Brubeck, I was tapping my feet along with the crisp percussion and vibraphone.

It's worth noting that the lower treble can occasionally exhibit a slightly uneven response, with some peaks and dips that might become noticeable with certain recordings. In "Kashmir" by Led Zeppelin, the cymbal crashes, while generally well-rendered, occasionally displayed a slightly splashy quality.

Upper Treble

Now, let's reach for the stars—the upper treble! The C3 MKII extends well, providing a good amount of sparkle and air without becoming harsh or fatiguing. It's like a sprinkle of fairy dust on the music, adding that extra bit of magic. In "Violin Concerto No. 1" by Max Bruch, the C3 MKII beautifully captured the delicate nuances and overtones of the violin, creating a truly captivating listening experience.

While the upper treble extension is good, it's not the absolute best I've heard. In tracks like "The Great Gig in the Sky" by Pink Floyd, where the upper treble frequencies are crucial for creating a sense of space and atmosphere, the C3 MKII's performance was slightly less impressive. The sense of air and sparkle was present, but it lacked the ultimate extension and "shimmer" that I've experienced with some higher-end IEMs.

Soundstage

The soundstage on the C3 MKII is surprisingly spacious for an IEM in this price range. It's not quite an out-of-head experience, but it definitely doesn't feel cramped or confined. There's a decent amount of width and depth, and the imaging is surprisingly accurate. Listening to "Stimela" by Hugh Masekela, I was pleasantly surprised by how well the C3 MKII placed the various instruments in the mix. It created a sense of space and depth that added to the overall listening experience.

The soundstage height, however, is somewhat limited, which can sometimes make the presentation feel a bit two-dimensional. In orchestral pieces like "Symphony No. 5" by Beethoven, where the vertical placement of instruments is crucial for creating a sense of scale and grandeur, the C3 MKII's soundstage felt a bit flat.

Layering and Separation

The C3 MKII does a commendable job of layering and separating instruments, especially considering its price point. It's not the last word in resolution, but it manages to keep things organized even in busy passages. In "Bohemian Rhapsody" by Queen, the C3 MKII deftly navigated the complex arrangement, allowing me to appreciate the individual layers of vocals and instruments without them becoming a jumbled mess.

When pushed to its limits with extremely dense and complex tracks like "The Dance of Eternity" by Dream Theater, the C3 MKII's layering and separation capabilities start to show their limitations. While it still manages to keep the presentation from falling apart completely, some finer details and nuances might get lost in the mix.

Timbre

The timbre of the C3 MKII is largely natural and realistic, which is always a welcome quality in any audio gear. Instruments and vocals sound believable, without any glaring colorations or unnatural textures. Listening to "Hallelujah" by Leonard Cohen, I was moved by the raw emotion in his voice, which the C3 MKII reproduced with remarkable fidelity.

There's a slight hint of metallic sheen to the timbre, particularly in the upper midrange and lower treble. This is a minor nitpick, and it doesn't detract significantly from the overall listening experience, but it's something that I noticed with critical listening.

Coherence

The C3 MKII exhibits good coherence across the entire frequency spectrum. The different frequency ranges blend together seamlessly, creating a unified and harmonious presentation. In "Stairway to Heaven" by Led Zeppelin, the C3 MKII demonstrated excellent coherence, allowing the track to flow effortlessly from the quiet acoustic intro to the powerful climax.

The slight emphasis in the mid-bass and the occasional peaks and dips in the lower treble can sometimes introduce a minor disconnect between those specific regions and the rest of the frequency spectrum. This is a subtle observation, and it doesn't significantly impact the overall coherence, but it's something that I noticed with critical listening.

Detail Retrieval

The C3 MKII is a decent performer when it comes to detail retrieval. It's not the most resolving IEM out there, but it manages to unearth a good amount of musical information without ever sounding analytical or clinical. In "Teardrop" by Massive Attack, the C3 MKII revealed subtle textures in the strings and nuances in the vocals that I hadn't noticed before.

Compared to other IEMs in its price range, the C3 MKII holds its own. It doesn't necessarily outperform all its competitors, but it certainly doesn't fall behind. It strikes a good balance between detail retrieval and musicality, making it an enjoyable listen for a variety of genres.

Conclusion:

So, where does the TinHifi C3 MKII stand in the grand scheme of things? Well, the budget IEM market is a battlefield, with new contenders emerging constantly. It takes something special to stand out from the crowd, and I think the C3 MKII has a tuning that's fairly to be unremarkable in this price range. What does set the C3 MKII apart is its overall value proposition. It's not just about a single standout feature; it's about the whole package. You get a balanced and enjoyable sound signature, a comfortable fit, a robust build, and all this at a price that won't break the bank. That's a combination that's hard to beat!

Sure, it's not perfect. There are IEMs with more impactful bass, a wider soundstage, or a higher level of detail retrieval. But at this price point, it's about finding the right balance of strengths, and the C3 MKII does decently well.

Preface:

You can purchase Divison at the following link (not an affiliate link):
https://www.linsoul.com/products/kiwi-ears-division?_pos=3&_fid=6dea8de35&_ss=c

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, Kiwi Ears or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• iBasso DC Elite
• iBasso D16 Taipan
• Hiby RS6 (with and without Ampersand)
• Onix Overture XM5
• Violectric V590²
• Gungnir A2 + Auralic Taurus MK2

Introduction:

Kiwi Ears has quickly made a name for themselves in the audio world with their impressive lineup of IEMs. They've consistently delivered high-quality sound and innovative designs at surprisingly affordable prices, garnering a loyal following among audio enthusiasts. I've personally been a big fan of their IEMs, especially the Cadenza, Orchestra Lite, Quintet, and KE4, all of which offer exceptional value and performance. Now, Kiwi Ears is venturing into the world of over-ear headphones with the Division, their first attempt at a full-size headphone. It's exciting to see what this innovative company can bring to a new product category, and the Division certainly has some big shoes to fill, given the high bar set by their IEMs.

Box Contents:

• Kiwi Ears Division
• 3.5mm female to 6.35mm male adaptor
• 2 headphone cables (1 X Long coiled and 1 X short with Mic)
• User Manual

Specifications:

• Frequency Response :20Hz – 20kHz
• Sensitivity : 98dB+/-3dB / 108db/V@1KHz
• Impedance : 32Ω
• Driver Type : 40mm Dynamic Driver
• Colors : Black / Silver

Unboxing Experience:

The Kiwi Ears Division arrives in a fairly compact and unassuming package. Inside, you'll find the headphones themselves, along with two detachable cables—one coiled and one straight with inbuilt mic—and a 3.5mm female to 6.35mm male adapter. There's also a basic user manual, but no other accessories to speak of. The unboxing experience is functional and straightforward, but not particularly memorable.





Design and Build:

The Division sports a classic over-ear design with a mostly plastic construction. While the build quality is decent for the price, it doesn't exude a particularly premium feel. The earcups are made of aluminum, which adds a touch of durability, but the overall aesthetic is rather understated. The headphones are lightweight and foldable, making them reasonably portable. However, the plastic hinges and overall construction don't inspire immense confidence in terms of long-term durability.











Wearing Comfort:

The Kiwi Ears Division is generally comfortable for extended listening sessions. The lightweight design and ample headband padding prevent hotspots from forming on top of the head. However, the earpads are a bit thin, and the earcups themselves are somewhat shallow. This can lead to your ears touching the inner driver housing, which may become uncomfortable for some users, especially those with larger ears.



Driveability:

The Division is relatively easy to drive and can be powered by dongles. However, it definitely benefits from quality amplification. Initially, I was underwhelmed by its performance when driven by a dongle. The sound felt somewhat compressed and lacking in dynamics. But when I connected it to my desktop setup with a Violectric V590² / Auralic Taurus MK2 and more powerful portable sources like iBasso D16 and Centrance Ampersand, the Division truly opened up. The bass became tighter and more controlled, the soundstage expanded, and the overall presentation gained a level of clarity and detail that was previously missing. This suggests that the Division scales well with better amplification and source gear.





Sound Analysis:

Tonality:

The Kiwi Ears Division leans towards a warm, full-bodied sound signature with a touch of sparkle in the upper midrange. This isn't a neutral headphone by any stretch, but the coloration is generally agreeable, adding a touch of richness to the overall presentation. However, this warmth can sometimes veer into over-smoothness, particularly with genres that benefit from a cleaner, more neutral presentation, such as classical or jazz.

Sub-Bass:

The sub-bass is one of the Division's strengths. It reaches deep, delivering a satisfying rumble that's surprisingly tight and controlled for a single dynamic driver. Listening to "Limit to Your Love" by James Blake, the sub-bass presence is undeniable, adding weight and impact to the track without any hint of muddiness. The decay is well-managed, preventing the low end from becoming boomy or overwhelming. However, venturing into the depths of "Chameleon" by Trentemøller revealed a slight roll-off in the very lowest frequencies. It's not a deal-breaker, but something to note for hardcore bassheads.

Mid-Bass:

The mid-bass is a bit of a mixed bag. It's undeniably punchy and impactful, adding a visceral slam to tracks like "Bad Guy" by Billie Eilish. However, this emphasis on mid-bass can sometimes be a bit overzealous, leading to bloat and muddiness in the lower midrange. This can affect the clarity and definition of instruments like cellos and acoustic guitars, making them sound less distinct and detailed. Interestingly, I found that this mid-bass bloat was somewhat mitigated when using sources with quality amplification, such as the iBasso D16 and Auralic Taurus. These sources seemed to provide better control and definition in the low end, resulting in a cleaner and more balanced presentation.

Lower Midrange:

The lower midrange is slightly forward and warm, adding a sense of fullness to vocals and instruments. Male vocals, like those in "The Sound of Silence" by Disturbed, have a rich, authoritative presence, while female vocals, like Adele's in "Hello," possess a captivating depth and emotionality. However, the mid-bass bleed can sometimes muddy the waters in this region, reducing clarity and separation.

Upper Midrange:

This is where the Division adds a touch of sparkle. The upper midrange is clear, detailed, and slightly forward, giving vocals and instruments a crisp, articulate quality. Listening to "Hotel California" by The Eagles, the guitars have a beautiful shimmer and bite, while the vocals are presented with excellent clarity. However, this emphasis can occasionally lead to a hint of harshness with poorly recorded tracks, and some listeners might find the upper midrange a bit shouty at times.

Lower Treble:

The lower treble is generally well-controlled, providing a good amount of detail and presence without becoming fatiguing. Cymbal crashes in "In the Air Tonight" by Phil Collins have a realistic shimmer and decay, adding to the track's atmospheric quality. However, I did notice a slight dip in the lower treble, which occasionally resulted in a subtle loss of detail in this region.

Upper Treble:

The Division's upper treble is extended and airy, adding a sense of space and openness to the soundstage. There's a hint of sparkle that adds excitement to high-frequency details, but it never veers into sibilance territory. "Clair de Lune" by Debussy showcases this beautifully, with the piano notes sounding delicate and ethereal. However, those seeking a truly dazzling and energetic treble response might find the upper treble a bit restrained.

Soundstage:

The Division's soundstage is one of its strengths. It's wide, deep, and surprisingly tall, creating an immersive listening experience. Listening to "Bohemian Rhapsody" by Queen, I felt like I was in the recording studio, with the various instruments and vocals placed precisely around me. However, while the soundstage is spacious, it's not the absolute widest I've experienced, particularly compared to some open-back headphones.

Layering and Separation:

The Division generally excels at layering and separation. Even in complex orchestral pieces like "Jupiter" from Gustav Holst's The Planets, individual instruments are easily discernible, with a clear sense of space between them. Vocals are placed front and center, while instruments are arranged in a realistic and coherent manner. However, the mid-bass bloat can sometimes hinder separation in the lower frequencies, making it harder to distinguish individual instruments in busy passages.

Timbre:

The Division's timbre is mostly natural and realistic, with a slight warmth that adds a touch of richness to instruments and vocals. Acoustic instruments, like guitars and pianos, sound particularly lifelike, while electronic instruments have a satisfying weight and impact. However, there are moments where the timbre can veer slightly towards the artificial, particularly with certain vocals and synthesizers, and the overly warm tonality can sometimes make instruments sound less natural.

Detail Retrieval:

The Division is surprisingly adept at detail retrieval. It digs deep into recordings, revealing subtle nuances and micro-details that I've never noticed before. Listening to "Teardrop" by Massive Attack, I was struck by the intricate textures in the background, which added a whole new dimension to the track which was surprising for a headphone at this price point.

Coherence:

The Division's coherence is generally good. Each part of the frequency response blends reasonably well with the others, creating a mostly unified and harmonious presentation. However, the mid-bass emphasis can sometimes disrupt this coherence, creating a slight disconnect between the bass and the lower midrange.

Conclusion:

The Kiwi Ears Division is a commendable first attempt at headphones from a company known for its IEMs. At $50, it offers an attractive package that combines comfort, an engaging sound signature, and respectable technical capabilities. The Division's appeal lies in its fun and enjoyable presentation, particularly for those who appreciate a warm, bass-forward sound. However, potential buyers should be aware of its tendency towards mid-bass bloat and a somewhat restrained treble, which may not suit all listening preferences or genres. Overall, the Division is a decent all-rounder that delivers a satisfying musical experience for the price, and it hints at promising things to come from Kiwi Ears in the headphone space.

Preface:

You can purchase BL03 II at the following link (not an affiliate link):
https://www.linsoul.com/products/blon-bl03-ii?_pos=1&_fid=bbb2067cd&_ss=c

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, Blon or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC Elite
• iBasso D16 Taipan
• Hiby RS6
• Chord Hugo 2 + 2go
• Onix Overture XM5

Introduction:
Blon is a Chinese audio company that has made quite a name for itself in the audiophile community. They're known for producing budget-friendly IEMs that over great value in terms of sound quality and build. Founded in 2013, Blon has released a string of popular IEMs, including the BL03, BL05, and BL07, each offering a balanced sound signature, clear vocals, and a comfortable fit.

But it was the original BL03 that truly captured the hearts of audio enthusiasts, often serving as a gateway into the world of audiophilia. For many, the BL03 was their first taste of audiophile-grade sound, and it holds a special place in their audio journey. However, the audio scene has evolved dramatically since the original BL03's release, and the value proposition in the budget IEM market has shifted significantly. Now, Blon has released the successor to this beloved IEM: the BL03 II.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 09 pairs of silicone tips (3 X S/M/L)
• Jute carry bag

Specifications:

• Frequency Response :20Hz – 20kHz
• Sensitivity : 116dB
• Impedance : 32Ω
• Driver Type : 10mm Dual-Chamber Dynamic Driver
• Colors : Matte Black / Silver-Gunmetal

Unboxing Experience:

The unboxing experience of the BL03 II is fairly standard. The IEMs come in a compact package containing the IEMs, a few sets of eartips, and a 2-pin detachable cable. The packaging is similar to that of the original BL03. One difference is the absence of the "OPERA" acronym on the BL03 II's packaging.







Design and Build:

The BL03 II impressed me with its sturdy metal shell construction, exceeding my expectations for its price point. The IEMs sport a sleek black finish with a subtle texture that effectively resists fingerprints and scratches. While the nozzle is a tad short, which initially gave me pause, the overall design is remarkably similar to the original BL03, with the most noticeable difference being the matte black finish replacing the original's chrome. Another subtle change is the flush two-pin connectors, a departure from the hooded connectors of the original BL03.

An interesting point to note is that the stock cable that comes with BL03 II is similar to the cables that came as stock with 7Hz G1 and Elua.











Wearing Comfort:

While generally comfortable, the BL03 II's fit can be a bit finicky. The short nozzle presented a slight challenge in achieving a secure seal, requiring some experimentation with different eartips to find the perfect fit for my ears. The cable, while functional, is a bit stiff around the preformed ear loop, which can be a minor nuisance. Despite these minor quirks, the overall comfort level is decent, especially given the affordable price.





Driveability:

The BL03 II is easy to drive. With its respectable sensitivity and impedance, it readily reached satisfying volume levels even when driven by my Pixel Type C to 3.5mm dongle. This eliminates the need for an external amplifier, enhancing portability and convenience. I also observed that the BL03 II isn't overly sensitive to variations in source gear, making it a hassle-free option for those who value a plug-and-play experience.





Sound Analysis:

Tonality:

The BL03 II paints a vibrant sonic landscape with a slightly V-shaped signature, emphasizing the upper midrange. This translates to a brighter, more energized presentation compared to its predecessor, injecting a dose of excitement into the music without sacrificing overall balance. It's like adding a subtle shimmer to the sound, bringing vocals and instruments forward with captivating clarity. While this generally adds a welcome vibrancy, it's worth noting that this upper midrange emphasis can occasionally push the boundaries with certain tracks, approaching a shouty quality at higher volumes, particularly when the recording itself is already bright.

Lorde's "Royals": The V-shaped signature is a perfect match for this track, lending a weighty foundation with the sub-bass while bringing Lorde's vocals forward with captivating clarity. The track becomes an engaging dance between the deep lows and the intimate presence of her voice. It's worth noting, though, that at higher volumes, the upper midrange emphasis can make her vocals sound a tad edgy, so be mindful of the volume knob!


Massive Attack's "Teardrop": Here, the BL03 II's focus on the upper midrange works its magic, adding a crystalline quality to the vocals and guitar. The subtle "smile" gives the bassline a satisfying thump, enhancing the track's melancholic yet driving rhythm. While this adds excitement, those who prefer a more neutral and laid-back presentation might find the BL03 II a tad too forward.


Sub Bass:

BL03 II has a sub-bass that delves deep, capturing the rumble and resonance of bass-heavy tracks. It's a controlled descent, avoiding bloat and overhang, making it a satisfying experience for most genres. For those seeking truly subterranean bass, however, the BL03 II might not fully quench that thirst. It lacks the ultimate slam and rumble of higher-end IEMs, especially those with dedicated bass drivers or specialized tuning.

James Blake's "Limit to Your Love": This track is a sub-bass behemoth! The BL03 II fearlessly navigates its depths, rendering the rumble with satisfying weight and texture. The decay is expertly managed, preventing the sub-bass from swallowing the rest of the mix. It's a visceral experience, feeling the music as much as hearing it. While the sub-bass is impressive, don't expect the earth-shattering rumble of a dedicated subwoofer; there are limits to what these IEMs can achieve, particularly when compared to IEMs with larger driver diameters.


Billie Eilish's "Bad Guy": The sub-bass here is more a shadowy presence, lurking beneath the surface. The BL03 II doesn't miss a beat, capturing these subtle nuances and adding a sense of depth and dimension to the track. It's like the difference between a flat photograph and a 3D image. While the sub-bass adds a welcome depth, those seeking a truly subterranean bass experience might find the BL03 II's sub-bass a tad reserved, especially compared to IEMs with a dedicated sub-bass emphasis.


Mid-bass:

Ah, the mid-bass – the BL03 II's playground! It's punchy, textured, and tightly controlled, injecting the music with a satisfying dose of impact. This makes the BL03 II a particularly engaging listen for genres that thrive on rhythmic drive and energy. It's worth noting, though, that this emphasis on the mid-bass can sometimes overshadow the lower midrange, making some instruments sound slightly recessed, especially in recordings with busy arrangements.

Radiohead's "Paranoid Android": The mid-bass drum hits in this track are a revelation. Each strike is rendered with a satisfying thump and remarkable clarity, perfectly complementing the song's dynamic shifts and complex arrangement. It's like the drums are right there in the room with you! While the mid-bass is impactful and engaging, it might occasionally overshadow the lower midrange, making some instruments sound slightly recessed, particularly in the denser sections of the track.


Kendrick Lamar's "HUMBLE.": The driving mid-bass line in this track is the backbone of its energy. The BL03 II delivers it with authority, capturing the texture and nuance of the bassline while maintaining remarkable control. It's a testament to the IEM's ability to handle demanding basslines without losing its composure. While this adds excitement and drive, those seeking a more neutral and balanced presentation might find the mid-bass a tad too prominent, especially compared to IEMs with a more linear bass response.


Lower Midrange:

The lower midrange walks a fine line, residing just north of neutral. This translates to a pleasing warmth and presence without veering into congestion. Male vocals are imbued with a rich body, while female vocals retain their natural timbre. This warmth adds a sense of fullness and richness to the music, making it a particularly enjoyable listen for acoustic and vocal-centric genres. It's important to be aware, though, that this warmth in the lower midrange might occasionally make the BL03 II sound a bit thick or veiled, especially with recordings that are already rich in the lower frequencies.

Leonard Cohen's "Hallelujah": Cohen's iconic baritone is rendered with a warmth and intimacy that sends shivers down your spine. The BL03 II doesn't just reproduce the notes; it captures the emotion in his voice. The acoustic guitar, too, is presented with a natural body and resonance, further enhancing the listening experience. While the warmth adds to the emotional impact, it might make the recording sound a bit thick for those who prefer a leaner presentation, especially if the recording already has a lot of warmth in the lower mids.


Adele's "Hello": Adele's powerful vocals are a force to be reckoned with, and the BL03 II rises to the challenge. Her voice is presented with clarity and emotion, and the warmth in the lower midrange adds a sense of fullness without sacrificing detail. It's a captivating performance that showcases the IEM's ability to handle demanding vocals. While this warmth is generally pleasing, it might not be ideal for all recordings, especially those that are already rich in the lower frequencies and could benefit from a bit more clarity in the lower midrange.


Upper Midrange:

The upper midrange is where the BL03 II truly makes its presence known. It brings vocals and instruments forward with captivating clarity and detail, adding a sense of intimacy and presence to the music. This makes the BL03 II a particularly engaging listen for genres that thrive on vocal performances and intricate instrumental details. It's important to be aware, though, that this upper midrange emphasis can occasionally push the boundaries, approaching a shouty quality with certain tracks, particularly at higher volumes, especially with recordings that already have a lot of energy in the upper midrange.

Joni Mitchell's "A Case of You": Mitchell's delicate vocals are rendered with exquisite detail, capturing every nuance and inflection. The upper midrange focus allows her voice to shine through, revealing the subtle emotions embedded within her performance. It's an intimate and moving experience. While the upper midrange emphasis adds to the intimacy, it can occasionally make her vocals sound a bit edgy, especially at higher volumes, which might be fatiguing for some listeners over longer listening sessions.


Miles Davis's "So What": The trumpet takes center stage in this track, and the BL03 II delivers it with remarkable clarity and detail. The upper midrange emphasis brings the trumpet forward, allowing the listener to appreciate the nuances of Davis's playing. At higher volumes, though, this emphasis can make the trumpet sound slightly harsh. It's a minor drawback, but one worth noting for those who prefer a smoother presentation, especially for trumpets and other brass instruments that already have a lot of presence in the upper midrange.


Lower Treble:

The lower treble is a model of balance, providing detail and presence without venturing into harshness or sibilance. It's like a sprinkle of fairy dust, adding sparkle and air to the music without causing fatigue. This makes the BL03 II a fatigue-free listen, even for extended periods. While this balanced approach is generally pleasing, it might not satisfy those seeking a more energetic and sparkly treble presentation, especially for genres that benefit from a more pronounced treble presence, like classical music or certain electronic subgenres.

The Beatles' "Here Comes the Sun": The acoustic guitar shimmers with life, thanks to the well-balanced lower treble. It adds a delicate sparkle to the track, enhancing the sense of warmth and optimism. The controlled decay ensures that the treble never becomes overbearing, allowing the listener to bask in the song's sunny disposition. While this adds a pleasant shimmer, those seeking a more energetic and sparkly treble might find the BL03 II a tad reserved, especially compared to IEMs with a dedicated treble emphasis.


Fleetwood Mac's "Dreams": The cymbal crashes in this track are a study in realism. They shimmer and decay naturally, adding a sense of authenticity to the recording. The lower treble adds just the right amount of presence without introducing any unwanted sibilance, allowing the listener to focus on the song's ethereal beauty. While this natural decay is pleasing, those seeking a more prominent and shimmery treble might find the BL03 II's lower treble a bit too relaxed, especially compared to IEMs with a more pronounced lower treble emphasis.


Upper Treble:

The upper treble extends gracefully, adding a sense of air and spaciousness to the music. There's a peak in this region, which contributes to the BL03 II's detailed and airy presentation. While this peak is generally well-managed, avoiding any harshness or sibilance, it might occasionally introduce a slight metallic tinge to certain instruments, especially at higher volumes, particularly with recordings that are already bright or sibilant.

Sigur Rós's "Hoppípolla": The shimmering textures in this track are a perfect match for the BL03 II's extended upper treble. It creates an expansive soundscape, drawing the listener into the music's ethereal beauty. The treble adds a sense of air and wonder, making it a truly immersive experience. While the airy presentation is captivating, the peak in the upper treble might occasionally add a slight metallic tinge to the instruments, especially at higher volumes, which might be fatiguing for some listeners over longer listening sessions.


Björk's "Hyperballad": The electronic elements in this track sparkle with energy, thanks to the extended upper treble. It adds a sense of excitement and dynamism, perfectly complementing Björk's unique vocals. The controlled peak in the upper treble ensures that the electronic elements never become harsh or fatiguing. While this adds sparkle and detail, this peak might not be ideal for all recordings, especially those that are already bright or sibilant.


Soundstage:

The BL03 II's soundstage is respectable, offering a decent amount of width and depth. It's not the most expansive soundstage out there, but it's well-defined, allowing for good instrument separation and a sense of space. This makes the BL03 II a pleasant listen for a variety of genres, as it creates a sense of immersion without sounding overly diffuse. For those seeking a truly holographic soundstage, however, the BL03 II's presentation might feel a bit limited in its width and depth, especially compared to IEMs with larger driver configurations or specialized acoustic designs.

Pink Floyd's "Shine On You Crazy Diamond": The expansive soundscape of this track is well-served by the BL03 II. It creates a sense of immersion, placing the listener within the music's atmosphere. Instruments are well-defined and separated, allowing the listener to appreciate the nuances of the arrangement. While the soundstage is immersive, it might not be as wide and deep as some listeners might prefer, especially those accustomed to higher-end IEMs with larger driver configurations or specialized acoustic designs.


Arcade Fire's "Wake Up": The anthemic nature of this track benefits from the BL03 II's soundstage. It creates a sense of grandeur and space, allowing the music to breathe and expand. Instruments are well-placed and separated, contributing to the track's dynamic impact. While the soundstage adds to the grandeur, it might not be the most expansive, especially for those seeking a truly out-of-head experience.


Layering and Separation:

The BL03 II excels at layering and separation, allowing individual instruments and vocals to shine through even in complex musical passages. This makes the BL03 II an excellent choice for genres that thrive on intricate arrangements and detailed instrumentation. It's worth noting, though, that this layering and separation might occasionally be challenged with extremely busy and complex tracks, where some instruments might get slightly lost in the mix.

Queen's "Bohemian Rhapsody": This iconic track is a masterpiece of layering and complexity. The BL03 II deftly handles the various vocal and instrumental lines, keeping them distinct and well-defined. It's a testament to the IEM's ability to maintain clarity even in the most demanding musical situations. While the layering and separation are impressive, with extremely busy passages, some instruments might get slightly lost in the mix, especially compared to IEMs with a higher driver count or more sophisticated crossover networks.


Dream Theater's "The Count of Tuscany": Progressive metal fans rejoice! The BL03 II's layering and separation are put to the ultimate test with this track. The intricate interplay of instruments and vocals is rendered with remarkable clarity, allowing the listener to follow every twist and turn of the musical narrative. While the BL03 II does an admirable job, with extremely dense and layered passages, it might not be able to perfectly separate every single instrument, especially compared to IEMs with a higher driver count or more sophisticated crossover designs.


Timbre:

The BL03 II generally delivers a natural and realistic timbre, making instruments and voices sound lifelike and engaging. The slight upper midrange emphasis doesn't significantly color the overall presentation, allowing for a faithful reproduction of the original recording. This makes the BL03 II a versatile IEM, suitable for a wide variety of genres and musical tastes. While the timbre is generally natural, it's worth noting that this slight emphasis on the upper midrange might occasionally make certain instruments sound a tad thin or edgy, especially at higher volumes, particularly with recordings that are already bright or sibilant.

John Mayer's "Gravity": The acoustic guitar is reproduced with a natural warmth and resonance that's truly captivating. Mayer's vocals are equally well-rendered, with a natural timbre that complements the guitar perfectly. It's a testament to the BL03 II's ability to capture the nuances of both vocals and instruments. While the timbre is natural and engaging, the slight upper midrange emphasis might occasionally make the guitar sound a tad thin, especially at higher volumes, which might be noticeable to those who are particularly sensitive to thinness in the timbre of acoustic instruments.


Norah Jones's "Don't Know Why": Norah Jones's velvety vocals are a treat for the ears, and the BL03 II does them justice. Her voice is reproduced with a natural smoothness and intimacy, drawing the listener into the song's emotional core. The accompanying instruments are also well-rendered, with a natural timbre that complements the overall presentation. While the timbre is generally pleasing, the slight upper midrange emphasis might occasionally make the piano sound a tad edgy, especially at higher volumes, which might be noticeable to those who are particularly sensitive to edginess in the timbre of piano keys.


Detail Retrieval:

The BL03 II's detail retrieval sits comfortably in the average range for its price point, offering a competent but not extraordinary performance. It manages to unearth a respectable level of subtle nuances and micro-details in the music, often exceeding expectations for its class. Think of it as a pleasant surprise – you're not just getting a decent sound signature, but also a glimpse into the finer details of your favorite tracks. While it's not going to compete with the resolving power of high-end IEMs with multiple drivers or specialized technologies, the BL03 II definitely holds its own, offering a more nuanced listening experience than one might anticipate at this price. It's worth noting, though, that this detail retrieval might occasionally be accompanied by a slight emphasis on certain frequencies, which can sometimes make the presentation sound a bit analytical or clinical, especially with recordings that are already detailed and don't require additional emphasis.

Steely Dan's "Aja": The intricate arrangement of this track allows the BL03 II to showcase its detail retrieval capabilities. It reveals subtle nuances in the instrumentation and production, allowing the listener to appreciate the complexity of the music. It's like getting a behind-the-scenes look at the recording process, discovering subtle elements that might have gone unnoticed before. While the detail retrieval is adequate, it might occasionally be accompanied by a slight emphasis on certain frequencies, which can sometimes make the presentation sound a bit analytical, especially compared to IEMs with a smoother and more laid-back presentation.


Hans Zimmer's "Time" (from Inception): The atmospheric nature of this track is beautifully rendered by the BL03 II. Its detail retrieval capabilities bring out the subtle nuances of the sound design, creating a truly immersive experience. You'll hear the ticking clocks, the swirling synths, and the subtle foley effects with a surprising level of clarity, adding a new dimension to your appreciation of the music. While the detail retrieval adds to the immersion, it might occasionally be accompanied by a slight emphasis on certain frequencies, which can sometimes make the presentation sound a bit clinical, especially compared to IEMs with a warmer and more forgiving sound signature.


Coherence:

The BL03 II generally exhibits good coherence, with the different frequencies blending together seamlessly to create a unified and cohesive sound. This makes the music sound natural and engaging, allowing the listener to focus on the musical performance rather than individual sonic elements. This makes the BL03 II an enjoyable and immersive listen, as the music flows effortlessly from one note to the next. However, the slight emphasis on the upper midrange and mid-bass can occasionally disrupt the coherence, making the presentation sound a bit disjointed at times, especially with recordings that have a lot of energy in those frequency ranges.

Pink Floyd's "Comfortably Numb": The gradual build-up and soaring guitar solos in this track are well-served by the BL03 II's generally good coherence. The different frequencies blend together seamlessly, creating a sense of flow and immersion. However, the slight emphasis on the upper midrange can occasionally make the guitar solos sound a bit edgy, disrupting the coherence slightly, especially during the climax of the song where the guitars are most prominent.


Daft Punk's "Get Lucky": The smooth and groovy nature of this track benefits from the BL03 II's generally good coherence. The different frequencies blend together seamlessly, creating a sense of effortless flow and rhythm. However, the slight emphasis on the mid-bass can occasionally make the bassline sound a bit too prominent, disrupting the coherence slightly, especially during the verses where the bassline is most prominent.


Comparisons:

Blon BL03 II vs. Original BL03:

• Tonality: The BL03 II takes a brighter and more energetic approach than its predecessor, with a more pronounced V-shaped signature and a greater emphasis on the upper midrange. This translates to a more vibrant and detailed presentation, but it can also make the BL03 II sound a bit shouty with certain tracks. The original BL03, on the other hand, offers a warmer and smoother sound, with a more relaxed midrange and treble.
• Bass: The BL03 II boasts a deeper and more impactful bass response, with better sub-bass extension and a more textured mid-bass. The original BL03's bass is less prominent, but still well-defined and controlled.
• Midrange: The BL03 II's midrange is more forward and detailed than the original BL03's, but it can also be a bit more prone to shoutiness. The original BL03's midrange is smoother and more relaxed, but it can also sound a bit veiled in comparison.
• Treble: The BL03 II's treble is more extended and detailed than the original BL03's, but it can also be a bit more prone to sibilance. The original BL03's treble is smoother and more forgiving, but it can also sound a bit rolled-off in comparison.
• Detail Retrieval: Both IEMs offer good detail retrieval for their price point, but the BL03 II has a slight edge due to its brighter and more detailed sound signature.
• Soundstage: The BL03 II's soundstage is slightly wider and deeper than the original BL03's, but both IEMs offer a decent sense of space and instrument separation.

Blon BL03 II vs. 7Hz x HBB Elua:

• Tonality: The BL03 II and the Elua both have a V-shaped sound signature, but the Elua's V is more pronounced, with a greater emphasis on both the bass and treble. This makes the Elua a more exciting and engaging listen, but it can also be a bit more fatiguing over time. The BL03 II is a bit more balanced, with a less aggressive V-shape.
• Bass: The Elua's bass is more prominent and impactful than the BL03 II's, with deeper sub-bass extension and a more powerful mid-bass. The BL03 II's bass is still well-defined and controlled, but it doesn't have the same level of slam and rumble as the Elua.
• Midrange: The Elua's midrange is slightly recessed compared to the BL03 II's, but it's still well-detailed and clear. The BL03 II's midrange is more forward, which can be beneficial for vocal-centric genres.
• Treble: The Elua's treble is more extended and sparkly than the BL03 II's, but it can also be a bit more prone to sibilance. The BL03 II's treble is smoother and more forgiving.
• Detail Retrieval: The Elua has a slight edge in detail retrieval due to its more pronounced V-shape and greater treble emphasis.
• Soundstage: The Elua's soundstage is slightly wider and deeper than the BL03 II's, but both IEMs offer a decent sense of space and instrument separation.

Blon BL03 II vs. 7Hz G1:

• Tonality: The BL03 II and the G1 both have a balanced sound signature, but the G1 is slightly warmer and smoother, with a less pronounced upper midrange. This makes the G1 a more relaxed and forgiving listen, but it can also sound a bit less detailed and engaging than the BL03 II.
• Bass: The G1's bass is slightly more prominent than the BL03 II's, with a warmer and fuller presentation. The BL03 II's bass is a bit tighter and more controlled.
• Midrange: The G1's midrange is slightly more recessed than the BL03 II's, but it's still well-detailed and clear. The BL03 II's midrange is more forward, which can be beneficial for vocal-centric genres.
• Treble: The G1's treble is smoother and more relaxed than the BL03 II's, but it can also sound a bit rolled-off in comparison. The BL03 II's treble is more extended and detailed.
• Detail Retrieval: The BL03 II has a slight edge in detail retrieval due to its brighter and more detailed sound signature.
• Soundstage: The G1's soundstage is slightly wider than the BL03 II's, but both IEMs offer a decent sense of space and instrument separation.

Blon BL03 II vs. TRIPOWIN x 0DiBi: Vivace:

• Tonality: The BL03 II and the Vivace both have a balanced sound signature, but the Vivace is slightly brighter and more detailed, with a greater emphasis on the upper midrange and treble. This makes the Vivace a more analytical and revealing listen, but it can also be a bit more fatiguing over time. The BL03 II is a bit more forgiving, with a smoother treble presentation.
• Bass: The Vivace's bass is slightly less prominent than the BL03 II's, with a tighter and more controlled presentation. The BL03 II's bass is a bit warmer and fuller.
• Midrange: The Vivace's midrange is more forward and detailed than the BL03 II's, but it can also be a bit more prone to shoutiness. The BL03 II's midrange is smoother and more relaxed.
• Treble: The Vivace's treble is more extended and detailed than the BL03 II's, but it can also be a bit more prone to sibilance. The BL03 II's treble is smoother and more forgiving.
• Detail Retrieval: The Vivace has a slight edge in detail retrieval due to its brighter and more detailed sound signature.
• Soundstage: The Vivace's soundstage is slightly wider and deeper than the BL03 II's, but both IEMs offer a decent sense of space and instrument separation.

Conclusion:
BL03 II takes what we loved about the original BL03 and kicks things up a notch. The sound is more engaging and detailed, with a punchy bass and sparkly treble that's sure to make your music come alive. Plus, it's still super affordable and built like a tank! Of course, no IEM is perfect, and the BL03 II has its quirks. But hey, for the price, it's hard to complain too much!

In a world overflowing with budget IEM options, the BL03 II manages to do well rather than stand out. It's a solid all-arounder that's easy to recommend to anyone looking for a fun and engaging listen without breaking the bank. If you're looking for an affordable upgrade to your daily driver, the BL03 II is definitely worth checking out!

Preface:

I would like to thank Eminent Ears for sending this unit as part of the review tour and @gadgetgod for organising it.

You can purchase Sapphire at the following link (not an affiliate link):

https://heady-buy.com/collections/eminent-ears/products/sapphire

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Eminent Ears or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• iBasso DC Elite
• iBasso DC07 Pro
• iBasso D16 Taipan
• Chord Hugo 2 + 2go w/ Auralic Taurus MK2
• Hiby RS6 + Aroma A100TB with PS100 Pro (Stock and V7 Classic OpAmps)

Introduction:

Eminent Ears, a rising star in the audiophile galaxy, hails from the bustling metropolis of Hong Kong. What's fascinating about this brand is its origin story: a group of friends, driven by sheer curiosity and a shared passion for audio, embarked on a quest to craft their own IEM. Five years and countless trials later, their labor of love materialized in the form of the Ruby, their debut IEM. This meticulously crafted masterpiece and boasting a sophisticated driver configuration, quickly garnered attention for its exceptional sound quality and luxurious aesthetics. Now, riding the wave of the Ruby's success, Eminent Ears presents the Sapphire, a captivating IEM that promises to deliver a similarly enthralling sonic experience, albeit with its own unique personality and a more accessible price point.

Technical Specifications:​

• Drivers: 1 DD + 4 BA + 1 BCD
• Interface: 2 Pin ( 0.78 mm )
• Sensitivity: 108 dB
• Frequency Response Range: 20 Hz-20 kHz
• Impedance: 14 Ω
• 4-Way Crossover Design
• Cable Designed by Vortex Cables

Cable Specifications​

• Material: Silver Plated Copper Alloy
• Braiding: Cross Braiding
• Diameter: 1.6 mm / Core
• Interface: 2 Pin (0.78 mm)
• Plug: 4.4 mm Balanced
• Plug material: Gold-Plated Copper
• Metal parts: Oxidized Aluminum Alloy
• Cable length: 123 cm (±2 cm)
• Cable structure: Independent Winding LITZ Structure
• Protective cover: PVC

Box Contents:

• SAPPHIRE Universal In-Ear Monitors
• Vocal Eartips (S/M/L)
• Balanced Eartips ( S/M/L)
• IEM Cable (By Vortex Cables)
• Premium Storage Case
• User Manual and Cleaning Cloth

Unboxing Experience:

I have to admit, I was pretty excited when I received Sapphire. The box itself was sleek and elegant, hinting at the premium experience within. Opening it up, I was greeted by the IEMs nestled snugly in a custom-cut foam insert, along with a faux leather case below which had the Vortex cable stored inside. Once you lift the foam insert of the IEMs, you will find a selection of ear tips (one set for vocals and the other for balanced sound). It felt like unwrapping a piece of jewelry, and it definitely set the stage for a luxurious audio experience.















Design and Build:

The first thing that strikes you about the Sapphire is its mesmerizing faceplate. It's a dazzling display of deep blue resin, generously infused with shimmering particles that catch the light like a constellation of tiny stars. The "Sapphire" inscription, subtly etched in silver, adds a touch of elegance without being overly ostentatious. But it's not just about looks; the overall build quality is exceptional, with a solid, well-constructed resin shell that feels both durable and comfortable. The two-pin connectors are flush-mounted and appear to be robust, ensuring a reliable connection.









Moving on to the Vortex cable that comes as stock, tt's incredibly supple and pliable, so it drapes nicely and doesn't have any memory. This makes it super easy to manage, whether I'm at my desk or on the go. And speaking of on the go, the cable is incredibly tangle-resistant. I've thrown it in my bag countless times, and it always comes out without a single knot!





Wearing Comfort:

First off, they're surprisingly light. I've worn some IEMs that feel like I've got a couple of pebbles hanging out of my ears, but these just sort of disappear once they're in. The shape is spot on, too. They nestle nicely into my ears, and I can wear them for hours without any discomfort. Now, I will say that finding the right ear tips was key. I did find the nozzle to be a bit on the thicker side and even the smallest size of the included ear tips felt a little too big for me to get a truly comfortable and secure fit. I experimented with a few different tips before I found the ones that created the perfect seal and really locked in the fit. JVC Spiral Dot tips (EP-FX11-B) allowed the nozzle to go deeper into my ear canal without any discomfort, and the noise isolation was superb.



Driveability:

Now, this is where my journey with the Sapphire took an unexpected turn! I initially tried driving them with my trusty DC Elite and DC07 Pro as they are my usual go-to sources for IEMs. While the sound was decent, with good clarity and a punchy bass, it didn't quite reach the "wow" factor I was hoping for. It was like the Sapphire was holding back, waiting for the right moment to truly shine.

I moved on to the D16 (not paired with any amp) and Hugo 2 + 2go paired with the Auralic Taurus MK2. And wouldn't you know it, the difference was immediately noticeable! The soundstage opened up, the dynamics became more impactful, and the overall clarity and detail improved significantly. It was like the Sapphire had finally woken up, revealing a hidden layer of musicality that was previously obscured.

But the real magic happened when I switched to the Hiby RS6 paired with the Aroma A100TB amp (w/ PS100 Pro PSU), equipped with Burson V7 Classic OpAmps. This combination, my friends, was pure synergy! The midrange bloomed with a newfound richness and texture. Vocals were rendered with an almost unbelievable level of detail and emotion. I could hear the subtle nuances in every breath, every inflection, every vibrato. It was like the singers were right there in the room with me, pouring their hearts out.

And the instruments! Oh, the instruments! Each note was infused with a sense of life and emotion that I'd rarely experienced before. The texture of a violin, the resonance of a cello, the delicate shimmer of a cymbal – it was all there, laid bare with breathtaking clarity and realism. I found myself getting lost in the music, completely captivated by the emotional depth and nuance that this pairing brought to life. There were moments, I confess, where I was almost moved to tears!

It was then that I truly understood the Sapphire's potential. It's an IEM that craves a quality source and amplification to truly sing. And when it does, it's capable of delivering a midrange experience that's nothing short of transcendent.



Sound Analysis:

Tonality:

The Sapphire strikes a delightful balance between warmth and clarity. While not strictly neutral, the subtle coloration adds a welcome touch of musicality without ever becoming overly thick or syrupy. It's like savoring a perfectly aged cognac – smooth, refined, and with just a hint of sweetness.

Sub-Bass (20-80 Hz):

Prepare for a subterranean adventure, because the Sapphire's sub-bass is deep. I mean, really deep. It plunges into the depths with thunderous authority, delivering a visceral rumble that you can practically feel in your chest cavity. This is gloriously evident in tracks like Hans Zimmer's "Time" (Inception OST), where the low-frequency pulses reverberate with a weighty presence that's truly immersive. In some poorly mastered tracks, though, this abundance of bass can become a bit much, bordering on overwhelming. And while generally tight and controlled, I did find that the deepest notes in Massive Attack's "Angel" could have benefited from a touch more articulation to prevent a slight sense of bloom. But hey, who am I to complain about a little extra rumble now and then?



Mid-Bass (80-180 Hz):

The mid-bass is where the Sapphire truly flexes its muscles. It's punchy and impactful, providing a satisfying thump to kick drums and bass guitars, as I clearly heard in Daft Punk's "Get Lucky." It's also remarkably textured and controlled, never bleeding into the midrange... well, almost never. In tracks like Marcus Miller's "Run for Cover," I felt the mid-bass occasionally ventured a tad close to bloated, ever so slightly masking the finer details in the lower midrange. But let's be honest, even the most sculpted physiques have their quirks, right?




Lower Midrange (250-500 Hz):

The lower midrange is characterized by a warmth and fullness that adds body and richness to vocals and instruments. Male vocals, like Leonard Cohen's in "Hallelujah," have a pleasant weight to them, and female vocals are rendered with a smooth, almost velvety texture. That being said, my inner audiophile can't help but point out a slight tendency towards congestion in this region, especially with tracks that have a lot of instruments vying for attention. This was noticeable in Adele's "Rolling in the Deep," where the lower midrange occasionally sounded a bit veiled and could have used a touch more airiness.



Upper Midrange (500 Hz - 2 kHz):

Sapphire doesn't disappoint. Vocals are presented with exceptional clarity and detail, and instruments like violins and trumpets have a natural brilliance without sounding harsh. This was particularly evident in Norah Jones' "Don't Know Why," where her vocals were crystal clear, with each syllable delivered with precision. Now, it's worth noting that the upper midrange can, at times, lean a bit forward. This might lead to some fatigue with certain tracks, especially those with a lot of high-frequency energy in the vocals. But fear not, it's not a deal-breaker by any means.


Lower Treble (2 kHz - 6 kHz):

The lower treble is generally well-balanced and detailed, providing a natural extension to the upper midrange. Cymbal crashes have a realistic shimmer, and hi-hats possess a crisp, clean sound, as I noted in Steely Dan's "Aja." While enjoyable, I did find myself wishing for a touch more airiness and refinement in this region, something I've experienced with other top-tier IEMs. It's not recessed by any means, but a bit more delicate and extended wouldn't hurt.


Upper Treble (6 kHz - 20 kHz):

The upper treble extends smoothly, adding a touch of air and sparkle to the music. Thankfully, there's no hint of sibilance. That said, I did find that the upper treble could be a bit more extended and sparkling. It's not rolled-off, but it lacks the ultimate airiness and shimmer that I personally crave in this region. This was noticeable in Pink Floyd's "High Hopes," where the cymbals could have used a bit more presence and shimmer.


Soundstage:

The Sapphire's soundstage is undeniably impressive. It's wide and spacious, with a good sense of depth and layering. The IEMs do a fantastic job of creating a sense of space around the instruments, making for a more immersive listening experience, as I experienced with Yo-Yo Ma's Bach Cello Suites. While the width and depth are excellent, the soundstage doesn't quite reach the "out-of-head," truly holographic experience that some other IEMs can create.


Layering and Separation:

The Sapphire does a commendable job of layering and separating instruments and vocals in complex musical passages. Even in dense orchestral pieces, like Queen's "Bohemian Rhapsody," each instrument retains its own distinct space. While the layering is generally multi-dimensional and the separation is precise, in extremely busy passages, instruments can occasionally sound a bit blended together, lacking the ultimate clarity and definition I've encountered in other top-tier IEMs.


Timbre:

Instruments and voices generally sound natural and realistic through the Sapphire. There's no overt coloration or digital glare, which is always a relief. This was evident in tracks like John Mayer's "Gravity," where his guitar playing was reproduced with impressive realism. It's worth noting, though, that there are occasional instances where the timbre can be slightly colored, particularly in the lower midrange and lower treble. Despite these minor deviations from perfect neutrality, the Sapphire's timbre is generally pleasing and engaging.


Detail Retrieval:

The Sapphire is a capable detail retriever, revealing subtle nuances and micro-details in the music. This was apparent in tracks like Dire Straits' "Money for Nothing," where the intricate guitar work was reproduced with good clarity. While enjoyable, the Sapphire's detail retrieval doesn't quite reach the level of resolution and transparency that some other top-tier IEMs offer.


Coherence:

One of the Sapphire's greatest strengths is its coherence. All the different elements – the bass, midrange, treble, soundstage, and detail retrieval – come together to create a unified and musical whole. It's like listening to a well-rehearsed orchestra, where each instrument plays its part in harmony with the others. This organic integration of all the sonic aspects makes for a truly captivating and enjoyable listening experience. While there are minor inconsistencies in the timbre, and the technical performance isn't absolutely flawless, the overall presentation is remarkably cohesive and engaging.

Comparisons:

Sapphire vs. Eminent Ears Ruby (The Sibling Rivalry)

Alright, I know what you're thinking: "Isn't this a bit like comparing a feisty terrier to a majestic lion?" And you're right, the Ruby, with its extra grand and its considerably higher price tag, is in a different league. But hey, curiosity got the better of me, and I just had to see how the Sapphire, Eminent Ears' second act, measures up.

• Bass: Both the Sapphire and the Ruby deliver a satisfyingly deep and impactful bass response. However, the Ruby's bass has a more refined texture and articulation, with a greater sense of control and nuance. The Sapphire's bass, while still excellent, can occasionally sound a touch bloated in comparison, particularly in the mid-bass region.
• Midrange: The Ruby's midrange is where it truly pulls ahead. It's smoother, more refined, and possesses a greater sense of transparency and detail. The Sapphire's midrange, while still clear and engaging, can sound a bit congested and colored in comparison, particularly in the lower midrange.
• Treble: Both IEMs offer a well-extended and detailed treble response. However, the Ruby's treble is more refined and airy, with a greater sense of sparkle and extension. The Sapphire's treble, while still pleasant and non-fatiguing, can sound a bit rolled-off in comparison.
• Soundstage: The Ruby's soundstage is noticeably wider and more holographic than the Sapphire's. It creates a greater sense of space and immersion, with instruments placed more precisely within a three-dimensional soundscape. The Sapphire's soundstage is still quite spacious, but it doesn't quite match the Ruby's expansive presentation.
• Detail Retrieval: As you might expect, the Ruby reigns supreme in this department. It unveils a remarkable level of micro-detail, effortlessly revealing subtle nuances like the texture of a bow on a violin string or the breath intake of a vocalist. It's like listening to music under a microscope, discovering new layers and intricacies with each listen. The Sapphire, while still quite detailed, doesn't quite reach the same level of resolution and transparency. Its presentation is a touch smoother, which can sometimes obscure the finest of details. In terms of macro-details, both IEMs excel at capturing the dynamic swings and impactful moments in the music. However, the Ruby's superior resolution gives those macro-details an extra layer of realism and impact.
• Overall: As expected, the Ruby emerges as the clear winner in this sibling rivalry. It offers a more refined, detailed, and immersive listening experience. However, the Sapphire is no slouch. It delivers a highly enjoyable sound that's sure to please many audiophiles, especially considering its more accessible price point.

Sapphire vs. Sennheiser IE900

• Bass: The IE900's bass is incredibly tight and controlled, with a focus on speed and accuracy. The Sapphire's bass, while still impactful and well-defined, has a warmer and fuller presentation. It's a matter of preference, really. Do you prefer a lean, mean bass machine, or a warmer, more rounded low-end?
• Midrange: There is no question here about which of these IEMs do well in midrange. It's Sapphire ofcourse. The IE900's midrange lacks a certain warmth and organic quality, making vocals and instruments sound somewhat clinical and emotionally distant. The Sapphire's midrange is everything opposite. It's rich and smooth, with a touch of warmth that adds a sense of musicality.
• Treble: The IE900's treble is crisp and detailed, with a sparkling top end that extends effortlessly. The Sapphire's treble is a bit more relaxed and laid-back, with a smoother presentation that's less fatiguing for long listening sessions.
• Soundstage: The IE900's soundstage is wider and more precise than the Sapphire's. It creates a more holographic image, with instruments placed accurately within a three-dimensional space. The Sapphire's soundstage is still quite spacious, but it doesn't quite match the IE900's expansive presentation.
• Detail Retrieval: The IE900, with its analytical nature, excels at retrieving micro-details. It's like having a magnifying glass to the micros, revealing every subtle nuance and texture. The Sapphire, while not quite as resolving, still manages to uncover a good amount of detail, particularly in the midrange. Where the Sapphire might have a slight edge is in the presentation of macro-details. Its slightly warmer tonality and smoother treble can make those impactful moments, like a powerful drum hit or a soaring guitar solo, sound more visceral and engaging.
• Overall: If you prioritize detail, accuracy, and a wide soundstage, the IE900 might be the better choice. If you prefer a warmer, more forgiving sound with a touch of musicality, the Sapphire could be the way to go.

Sapphire vs. Kinera Verdandi

Both the Sapphire and the Kinera Verdandi are hybrid IEMs, combining dynamic, balanced armature drivers and bone conduction drivers to create a unique sonic signature.

• Bass: The Verdandi's bass is known for its sub-bass emphasis and rumbling presence. It's a powerful and visceral experience, though it can sometimes be a bit overwhelming. The Sapphire's bass is more balanced, with a tighter and more controlled presentation.
• Midrange: The Verdandi's midrange is warm and full-bodied, with a focus on musicality and emotion. The Sapphire's midrange is a bit leaner and more analytical, with a greater emphasis on clarity and detail.
• Treble: The Verdandi's treble is smooth and refined, with a sparkling top end that adds a sense of airiness. The Sapphire's treble is a bit more relaxed and laid-back, with a less energetic presentation.
• Soundstage: The Verdandi's soundstage is wide and immersive, with a holographic quality that places instruments precisely within a three-dimensional space. The Sapphire's soundstage is also quite spacious, but it doesn't quite match the Verdandi's expansive presentation.
• Detail Retrieval: Both the Sapphire and the Verdandi are capable detail retrievers, but they approach it differently. The Verdandi, with its emphasis on musicality, tends to focus on the macro-details, capturing the overall energy and emotion of the music. The Sapphire, with its more balanced approach, strikes a good balance between micro and macro details. It's not quite as resolving as the Verdandi, but it does a good job of revealing both the subtle nuances and the impactful moments in the music.
• Overall: Both the Sapphire and the Verdandi offer a compelling listening experience, but with different strengths. The Verdandi is a more fun and engaging IEM, with a powerful bass response and a warm, musical midrange. The Sapphire is a more balanced and refined IEM, with a tighter bass response and a more analytical midrange.

Conclusion:

So, after spending some quality time with the Sapphire, here's the deal: It's a really solid IEM! The sound is musical and engaging, with a lovely touch of warmth. And those vocals? Wow! I've heard a lot of IEMs, and the Sapphire's midrange is right up there with the best of them. It actually reminded me of the Softears Twilight, which is high praise indeed!

Now, don't get me wrong, it's not perfect. The bass can be a bit much at times, and the treble could be a touch more sparkly for my taste. And yeah, it's not quite as technically impressive as its big brother, the Ruby (but let's be honest, that thing is in a whole other league price-wise!).

But overall? I really enjoyed my time with the Sapphire. It's comfortable, it's well-built, and it makes music sound fantastic, especially if you're a vocals lover like me. If you're looking for an IEM that's both fun and detailed, definitely give the Sapphire a listen!

Preface:

I would like to thank Moritz Labs for sending this unit as part of the review tour and @gadgetgod for organising it.

You can purchase Dragon at the following link (not an affiliate link):

https://moritzaudio.com/products/moritz-dragon

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Moritz Labs or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• Dita Navigator
• iBasso DC Elite
• iBasso D16 Taipan + PB5
• Hiby RS6 + Aroma A100TB + PS100 Pro
• Hugo 2 + 2go
• Gungnir Multibit A2 + Auralic Taurus MK2
• Violectric V590 V2

Introduction:
Emerging from Hong Kong's vibrant audio scene, Moritz Labs is an IEM manufacturer driven by a passion for innovation and a commitment to delivering an exceptional listening experience. With a focus on unique designs and meticulous tuning, Moritz Labs aims to redefine what's possible in the world of personal audio. Today, we explore their Dragon IEM, a testament to their philosophy of pushing boundaries.

Technical Specifications:​

• Driver: Customized beryllium-plated ultra-thin diaphragm dynamic driver
• Impedance: 19Ω
• Sensitivity: 103.2dB SPL/mW
• Frequency Range: 5~48kHz
• Connector: CM 2-Pin
• Plug: 3.5mm/2.5mm/4.4mm gold plated
• Cable: Pure silver cable, length 1.2m

Box Contents:

• Dragon IEMs
• Pure silver cable, length 1.2m (± 0.1m)
• 3.5mm/2.5mm/4.4mm interchangeable terminations
• IEM Case
• Silicone Tips ( 4 X S/M/L)

Unboxing Experience:
The unboxing experience was pretty cool. The IEMs came in a sleek box with a nice presentation. Inside, I found the IEMs neatly stored in a sturdy IEM case, a bunch of silicone ear tips, and a detachable cable with a 3.5/2.5/4.4 connection options. It definitely felt like I was getting a premium product.







Design and Build:

My eyes were immediately drawn to the Dragon's captivating design. The translucent resin shells boast a mesmerizing blend of deep purple swirled with hints of gold and bronze, reminiscent of a starry galaxy or nebula. This intricate pattern gives each earpiece a unique, almost organic feel, further enhanced by the subtly embedded "Moritz" brand name.

While the visual impact is undeniable, the resin shells don't exude a sense of ruggedness. I find myself handling them with extra care, concerned about potential damage from accidental drops.







The included cable, while functional, leaves me with mixed feelings. It's a braided cable with a nice, tight weave and a smooth finish, and it resists tangles well. However, it lacks a certain heft and doesn't feel particularly substantial. The highlight is definitely the interchangeable connector system, allowing for 3.5mm, 2.5mm, and 4.4mm connections, which adds a welcome level of versatility.





Wearing Comfort:

I wore the dragon for a few hours at a time, and they're generally comfortable. The oval shape and the variety of ear tips helped me find a good fit and a secure seal. There was no wearing fatigue or occlusion effect as they seem to be well ventilated.





Driveability:

I've used Dragon with a few different devices as I always do while evaluating IEMs and Headphones. They work fine with dongles, but I noticed a huge difference when I plugged them into more powerful amplifiers. I've tried them with my D16, D16 with the PB5, Auralic Taurus MK2, and even my Violectric V590 V².

With the dongles, the sound was decent, but when I switched to the more powerful amps, wow! There was a noticeable improvement in clarity and detail. The soundstage felt wider and deeper, and the music just had more life to it. Lastly dynamics improved making them sound more lively and energetic.





Sound Analysis:

The Moritz Dragon is a curious creature indeed. A single beryllium-plated dynamic driver IEM that dares to challenge the multi-driver behemoths of the audio world. Can it truly deliver a sound that's both powerful and nuanced? Let's dive in and find out.

Tonality:

This isn't an IEM that strives for absolute neutrality. Instead, it embraces a warm and inviting character that colors the music with a golden hue. This warmth is evident across the frequency spectrum. The bass is full-bodied and impactful, providing a solid foundation without becoming overbearing. The midrange is smooth and inviting, lending vocals a natural warmth and intimacy. Even the treble exhibits a gentle warmth, contributing to a smooth and refined presentation.

This overall warmth contributes to the Dragon's musical and engaging character. It's a tonality that invites you to relax and enjoy the music, rather than critically analyze every detail.

Sub-Bass (20-80 Hz):

The Dragon's sub-bass is a force to be reckoned with, a subterranean rumble that sets the stage for a truly visceral listening experience. Picture yourself standing at the edge of a cliff, feeling the earth tremble beneath your feet as a storm gathers on the horizon. That's the kind of primal energy the Dragon conjures in the sub-bass frequencies. In tracks like "Silent Shout" by The Knife, the pulsating synth bassline hits with an impact that seems to defy the laws of physics, leaving you breathless and exhilarated. This impressive low-end presence is undoubtedly one of the Dragon's defining characteristics.

This raw power, however, is tempered with a surprising degree of finesse. The bass notes are not just loud; they're also remarkably articulate and textured. Each note is like a sculpted piece of granite, solid and well-defined, contributing to a sense of depth and dimensionality that's rare in this price range. While this powerful low-end can occasionally lose its composure in less-than-ideal recordings, becoming a bit overzealous and blurring the lines between power and control with poorly mastered tracks, this is a minor caveat in an otherwise impressive performance.


Mid-Bass (80-180 Hz):

The Dragon's mid-bass is the rhythmic pulse that drives the music forward, a heartbeat that infuses every track with energy and life. It's a warm and inviting presence, like a comforting hug that envelops you in a blanket of sound. In tracks like "Battery" by Metallica, the drums hit with a satisfying thump that makes you want to headbang along, while the bass guitar provides a groovy foundation that keeps your feet tapping.

This warmth, while generally pleasant, can sometimes become a bit too enthusiastic, adding a layer of thickness that can obscure some of the finer details in the mix, especially in bass-heavy genres. While the mid-bass is generally well-controlled, there are moments where it can become a bit overbearing, particularly with tracks that already have a prominent low-end.


Lower Midrange (250-500 Hz):

The Dragon's lower midrange is where the music's soul resides, a warm and inviting space where vocals and instruments find their voice. Male vocals are imbued with a rich and resonant quality, as if each note is being sung from the depths of the singer's chest. In "God Only Knows" by The Beach Boys, the harmonies are rendered with a warmth and intimacy that sends shivers down your spine.

This warmth, while generally enhancing the listening experience, can occasionally cast a subtle veil over the lower midrange. While instruments and vocals generally retain their clarity, there are moments where they can sound slightly recessed or distant, as if they're being sung from behind a thin curtain.


Upper Midrange (500 Hz - 2 kHz):

The Dragon's upper midrange shines a spotlight on the finer details of the music, revealing nuances and textures that might otherwise go unnoticed. Female vocals are presented with a clarity and presence that's both captivating and revealing. In "Landslide" by Fleetwood Mac, Stevie Nicks' voice is rendered with a delicate beauty, allowing you to hear every subtle inflection and nuance.

This emphasis on detail, while generally desirable, can sometimes introduce a slight harshness or sibilance, particularly with poorly recorded material. While the upper midrange is typically smooth and refined, there are moments where it can become a bit too forward, detracting from the overall listening experience for those sensitive to treble frequencies.


Lower Treble (2 kHz - 6 kHz):

The Dragon's lower treble adds a touch of shimmer and shine to the music, giving cymbals a crisp sparkle and hi-hats a delicate shimmer. In "Take the 'A' Train" by Duke Ellington, the brass instruments have a vibrant and energetic quality, while in "Baba O'Riley" by The Who, the synthesizer riff cuts through the mix with laser-like precision.

This sparkle, while generally enhancing the listening experience, can sometimes be accompanied by a slight sibilance, particularly with recordings that are already prone to harshness in this frequency range. While not a deal-breaker, this sibilance can be a minor distraction for those sensitive to high-frequency sounds.



Upper Treble (6 kHz - 20 kHz):

The Dragon's upper treble extends smoothly into the higher frequencies, adding a sense of air and space to the music. In "Clair de Lune" by Claude Debussy, the piano notes seem to float effortlessly in the air, creating an ethereal atmosphere. Similarly, in "Little Wing" by Jimi Hendrix, the guitar solos soar with a delicate beauty.

This airy extension, while generally pleasant, is not always perfectly smooth. While the upper treble is generally well-behaved, there are moments where it can sound slightly grainy or unrefined, particularly with poorly recorded material.



Staging (Width, Depth, Height):

The Dragon's soundstage is surprisingly spacious for a single DD IEM, with a decent sense of width and depth, creating an immersive experience, particularly with expansive recordings like Pink Floyd's "Dark Side of the Moon." You can almost feel yourself transported to the recording studio, surrounded by the instruments and vocals.

However, this window into the music might have some limitations in terms of its clarity and scope. While instruments and vocals are generally well-placed, the soundstage doesn't quite reach the level of holographic imaging that some of us might desire. It's like viewing the performance through a slightly frosted window; the overall picture is clear, but some of the finer details are obscured, lacking the pinpoint accuracy and three-dimensionality that some high-end IEMs can achieve.


Layering:

The Dragon excels at layering, presenting music as a richly woven tapestry of sound. In complex orchestral pieces like "Rite of Spring" by Stravinsky, the individual instruments are clearly delineated, allowing you to appreciate the intricate interplay between the various sections. Similarly, in "Bohemian Rhapsody" by Queen, the multi-layered vocals and intricate instrumentation are presented with impressive clarity. It's like being able to zoom in and out of the musical tapestry, appreciating both the individual threads and the overall design.

While this intricate tapestry is generally well-defined, it can occasionally have a few knots, particularly in extremely dense and busy passages where the presentation can become slightly congested. It's as if some of the threads in the tapestry have become tangled, making it difficult to discern the individual strands. This occasional congestion might be more noticeable with recordings that have a "wall of sound" production style, where individual instruments struggle to maintain their distinct presence.



Separation:

The Dragon typically does a commendable job of separating instruments and vocals, allowing each element to shine through with clarity. In "Starless" by King Crimson, the intricate interplay between the guitar, bass, and drums is rendered with exceptional clarity, while in Bach's "Concerto for Two Violins," the two soloists are clearly delineated, creating a sense of space and airiness. It's like watching a well-choreographed dance, where each instrument has its own space to move and express itself.

However, this delicate dance can sometimes become a bit crowded. In particularly dense passages, instruments can occasionally jostle for position, resulting in a slight loss of definition and clarity, particularly in the lower frequencies. It's as if the dancers in the musical performance occasionally bump into each other, disrupting the flow and precision of the choreography. This occasional crowding might be more apparent with recordings that have complex arrangements and dense instrumentation.



Timbre:

The Dragon's timbre is generally natural and realistic, making instruments and vocals sound true to life. In "Kind of Blue" by Miles Davis, the warm tone of the trumpet and the mellow sound of the saxophone are beautifully rendered, while in "Graceland" by Paul Simon, the diverse range of instruments are reproduced with a natural and accurate timbre. It's like listening to a live performance, where the instruments and vocals have a sense of presence and authenticity.

While this natural palette is generally pleasing, it can occasionally exhibit some artificial hues. There are instances where the presentation can sound slightly thin or metallic, particularly in the upper midrange, as if a few artificial colors have been mixed into the natural palette, creating a slight dissonance in the overall presentation. This is not a pervasive issue, but it can subtly detract from the realism of the listening experience in certain recordings.



Detail Retrieval:

The Dragon is a capable performer when it comes to detail retrieval, uncovering subtle nuances and textures in the music. In "In the Air Tonight" by Phil Collins, the gated reverb on the drums and the subtle inflections in Collins' vocals are brought to the forefront, while in "Teardrop" by Massive Attack, the intricate textures and atmospheric effects are revealed with impressive clarity. It's like exploring a hidden landscape, discovering new details and intricacies with each listen.

However, this exploration of the sonic landscape might not reveal every hidden corner. While the Dragon is adept at uncovering many of the music's hidden details, some of the most subtle nuances and micro-details can get lost in the mix, particularly in complex and layered recordings. It's as if some of the finer details in the sonic landscape are obscured by shadows, making them difficult to discern. This is not a major drawback, but it's something to consider if you prioritize ultimate resolution and transparency.



Dynamics:

The Dragon delivers a dynamic listening experience, capturing both the subtle nuances and the explosive peaks of the music. In Beethoven's "Moonlight Sonata," the delicate variations in touch and phrasing are beautifully rendered, while in "Thus Spoke Zarathustra" by Strauss, the iconic opening hits with impressive impact and power. It's like experiencing the full emotional range of the music, from the quietest whispers to the loudest roars.

While this dynamic performance is generally engaging, it occasionally exhibits a degree of restraint. Some IEMs can deliver a greater sense of slam and visceral impact, particularly in the lower frequencies. It's as if the Dragon is holding back its full power, preventing the music from reaching its full dynamic potential. This is not a major weakness, but it's something to consider if you crave the ultimate in dynamic thrills.



Coherence:

The Dragon's overall sound signature is generally coherent and balanced, with all the different elements working together harmoniously. In Pink Floyd's "Dark Side of the Moon," the intricate soundscapes and complex arrangements are rendered with a sense of cohesion and flow, while in The Beatles' "Abbey Road," the diverse range of musical styles are presented in a unified and engaging manner. It's like listening to a well-rehearsed orchestra, where each instrument plays its part in perfect harmony.



Comparisons:

Moritz Dragon vs. Sennheiser IE600:

This is a battle of two single-dynamic driver champions, each with its own distinct flavor. The IE600 is known for its analytical and precise sound, with a focus on detail retrieval and technical performance. The Dragon, on the other hand, leans towards a warmer, more musical presentation, with a focus on bass impact and engagement.

• Bass: The Dragon reigns supreme in the bass department, delivering a subterranean rumble that the IE600 simply can't match. The IE600's bass is tight and controlled, but it lacks the depth and visceral impact of the Dragon.
• Midrange: The IE600 takes the lead in the midrange, offering a more neutral and transparent presentation. The Dragon's midrange is warm and engaging, but it can occasionally sound slightly veiled or recessed in comparison.
• Treble: Both IEMs offer detailed and extended treble, but the IE600 has a slight edge in terms of airiness and sparkle. The Dragon's treble can sometimes sound a bit grainy or unrefined in comparison.
• Detail Retrieval: While both IEMs are quite detailed, the IE600 tends to reveal more nuances and micro-details in the music. The Dragon is no slouch in this department, but it can sometimes gloss over some of the finer intricacies, particularly in complex passages. This difference is subtle but noticeable when comparing the two side-by-side.
• Soundstage: The IE600 generally presents a wider and more holographic soundstage, with better instrument separation and imaging. The Dragon's soundstage is still spacious, but it's not as expansive or precisely defined.
• Overall: The IE600 is the more technical and analytical performer, while the Dragon offers a more fun and engaging listening experience with its powerful bass and warm tonality.

Moritz Dragon vs. ICE Labs Prismatica:

The Prismatica is an all BA IEM known for its vibrant and energetic sound signature, with a focus on clarity and detail. The Dragon, with its single dynamic driver, offers a smoother, more coherent presentation, with a focus on musicality and bass impact.

• Bass: The Dragon has a clear advantage in the bass, delivering a deeper and more impactful low-end. The Prismatica's bass is tight and controlled, but it lacks the weight and authority of the Dragon.
• Midrange: The Prismatica's midrange is more forward and detailed, with a slight emphasis on the upper midrange that can make vocals sound more present. The Dragon's midrange is smoother and more relaxed, but it can occasionally sound slightly recessed in comparison.
• Treble: The Prismatica has a more energetic and sparkling treble, with better extension and airiness. The Dragon's treble is smoother and more refined, but it can sometimes lack the same level of excitement.
• Detail Retrieval: The Prismatica generally excels in detail retrieval, revealing a wealth of information in the music. The Dragon, while still detailed, can sometimes be outshone by the Prismatica's ability to uncover subtle nuances and textures. This difference is particularly noticeable in complex and layered tracks.
• Soundstage: The Prismatica generally has a wider and more holographic soundstage, with better instrument separation and imaging. The Dragon's soundstage is still spacious, but it's not as expansive or precisely defined.
• Overall: The Prismatica is a more detailed IEM, while the Dragon offers a more musical and engaging listening experience with its powerful bass and smooth tonality.

Moritz Dragon vs. I/O Volare:

The Volare is a hybrid IEM and it takes a different approach to tuning compared to the Dragon. The Volare is known for its balanced and refined sound signature, with a focus on accuracy and detail retrieval. The Dragon, on the other hand, is more colored and fun-sounding, with a focus on bass impact and engagement.

• Bass: The Dragon has a more prominent and impactful bass, particularly in the sub-bass region. The Volare's bass is tight and controlled, but it lacks the same level of depth and rumble.
• Midrange: The Volare's midrange is more neutral and transparent, with excellent detail retrieval. The Dragon's midrange is warmer and more forgiving, but it can occasionally sound slightly colored in comparison.
• Treble: Both IEMs offer detailed and extended treble, but the Volare has a slight edge in terms of airiness and sparkle. The Dragon's treble is smoother and more relaxed, but it can sometimes lack the same level of extension.
• Detail Retrieval: The Volare and the Dragon are both quite capable when it comes to detail retrieval, but the Volare tends to have a slight advantage in resolving subtle nuances and textures. The Dragon is no slouch, but it can sometimes miss some of the finer details that the Volare reveals.
• Soundstage: The Volare generally presents a wider and more holographic soundstage, with better instrument separation and imaging. The Dragon's soundstage is still spacious, but it's not as expansive or precisely defined.
• Overall: The Volare is a more balanced and refined IEM, while the Dragon offers a more fun and engaging listening experience with its powerful bass and warm tonality.

Moritz Dragon vs. Aful Cantor:

The Aful Cantor is an IEM known for its detailed and transparent sound signature, with a focus on speed and accuracy. The Dragon, with its single dynamic driver, offers a warmer, more musical presentation, with a focus on bass impact and engagement.

• Bass: The Dragon has a more prominent and impactful bass, particularly in the sub-bass region. The Cantor's bass is tight and controlled, with excellent speed and texture, but it lacks the same level of depth and rumble.
• Midrange: The Cantor's midrange is more neutral and transparent, with excellent detail retrieval and a natural timbre. The Dragon's midrange is warmer and more forgiving, but it can occasionally sound slightly colored in comparison.
• Treble: The Cantor has a more extended and airy treble, with better sparkle and detail. The Dragon's treble is smoother and more relaxed, but it can sometimes lack the same level of extension and airiness.
• Detail Retrieval: The Cantor is a detail retrieval champion, revealing a wealth of information in the music with impressive clarity and precision. The Dragon, while still detailed, can't quite match the Cantor's resolving capabilities, particularly when it comes to subtle nuances and micro-details.
• Soundstage: The Cantor generally presents a wider and more holographic soundstage, with better instrument separation and imaging. The Dragon's soundstage is still spacious, but it's not as expansive or precisely defined.
• Overall: The Cantor is a more detailed and transparent IEM with a focus on technical performance, while the Dragon offers a more musical and engaging listening experience with its powerful bass and warm tonality.

Conclusion:

The Moritz Dragon is a fun IEM with a big, bold sound. Its strong bass and warm tone make it exciting to listen to, especially for music with lots of energy. But it's not perfect.

While it has a nice soundstage and can handle a lot of detail, it's not the best at picking out the tiny bits in your music. Sometimes, sounds can get a bit muddy or harsh, and it doesn't always sound completely natural.

For the price, it's good, but maybe not great. If you want a really accurate and detailed sound, there might be better choices. But if you want something fun and exciting that makes your music sound lively, the Dragon might be just the thing.

It really comes down to what you're looking for. The Dragon is like a friendly, energetic puppy - it's not the most well-behaved, but it's definitely got a lot of charm.

Preface:

I purchased this unit for myself without any discounts.

Also, I'm not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I'm not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment's sound and that's it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by any entity for this review. My assessment is based solely on my personal experience with the product.

IEMs and HPs used for evaluation: The list will be long and exhaustive as it has been one of my primary dongle device from the past 6 months.

Introduction:

iBasso has consistently impressed the audiophile community with its dedication to sonic excellence and innovative designs. From their acclaimed DAPs like the DX320 and DX320 Max to their powerful dongles like the DC07 Pro and DAC AMPs like D16 & PB5, iBasso has earned a reputation for crafting audio gear that punches well above its weight. The DC Elite, their flagship dongle, embodies this philosophy, promising a no-compromise portable listening experience that captures the essence of their expertise.

Specifications:

3.5MM SE OUTPUT (Can also be used for SPDIF Coaxial Output)
4.4MM BAL OUTPUT

Box Contents:

• DC-Elite
• Protective Case
• USB-C to USB-C cable
• USB-C to USB-A adapter
• USB-C to Lightning Cable
• User Manual

Unboxing Experience:

DC Elite arrives in a compact, understated box that belies the treasure within. Lifting the magnetic flap reveals the DC Elite nestled snugly in a foam cutout, giving a first impression of quality and care. Beneath, you'll find a small collection of essential accessories: a USB-C to USB-C cable, a USB-C to Lightning cable,USB-C to USB-A adapter and a handsome leatherette carrying case. While some might yearn for a more extravagant presentation, the focus here is clearly on functionality and providing everything you need to get started.











Design and Build:

DC Elite is a testament to the company's commitment to quality and craftsmanship. Forget flimsy plastic or aluminium dongles; this thing is built like a tank. Machined from a single block of titanium alloy, it feels reassuringly solid and substantial in the hand. The CNC-machined chassis exudes a sense of precision, with clean lines and a minimalist aesthetic.













A standout feature is the prominent volume knob, which utilizes a stepped attenuator. This design choice, while somewhat uncommon in dongles, brings both advantages and disadvantages. On the plus side, the stepped attenuator offers excellent channel balance, particularly at lower volumes, and potentially enhances the dynamic range of the audio. The tactile feedback of the distinct clicks is also satisfying, allowing for precise adjustments. However, this comes at the cost of having a finite number of volume steps, which might make it challenging to find the perfect volume level and also the music pausing for a fraction of a second which I've gotten used to over time. The lack of a visual volume indicator can also be a minor inconvenience. When switching IEMs, I always rotate the knob counter clock wise to lower the volume to ensure that I'm not going to have to rely on hearing aids in the years to come.



While the robust build and premium materials contribute to the DC Elite's durability, they also make it noticeably larger and heavier than many competing dongles. This might be a consideration for those seeking ultimate portability. Overall, the DC Elite's design and build prioritizes sonic performance and robust construction, even if it means sacrificing some portability.

Drivability and Pairing:

Now, when I first glanced at the spec sheet, the power numbers for the DC Elite didn't exactly jump out at me. But let me tell you, this chungus dongle packs a surprising punch! While the 3.5mm single-ended output is decent enough, delivering 162mW into 32 ohms, it's the balanced 4.4mm output that really shines. With a more potent 280mW into 32 ohms, it effortlessly drives a wide range of IEMs and even handles some of my moderately demanding full-sized headphones with ease.

IEMs:

I've paired the DC Elite with a variety of IEMs, from the lush Softears Twilight to the detailed Kinera Verdandi and the resolving Sony IER-Z1R. Across the board, the DC Elite delivers a clean and transparent sound, allowing the nuances of each IEM to shine through. However, I did notice that with the super-sensitive Andromeda, I had to keep the volume knob at the very bottom of its range on the balanced output. It wasn't a major issue, but it's something to keep in mind if you have similarly sensitive IEMs.








Dynamic Drivers Delight:

When it comes to easy to drive dynamic driver headphones, the DC Elite really comes into its own. I've been particularly impressed with how it handles my ZMF Bokeh. The Bokeh's lush and spacious soundstage is beautifully rendered, with excellent dynamics and detail retrieval. Even the demanding Focal Utopia 2020 sings with the DC Elite, showcasing its analytical precision and impressive transient response. Clear MG also was another fantastic pairing.



High Impedance Handling:

I was really curious to see how the DC Elite would handle my collection of high-impedance headphones, including the Sennheiser HD600, HD650, and HD800, as well as the ZMF Atrium. And honestly, I was pretty impressed. It drove them all with ease, delivering a rich and detailed sound without any signs of struggle.

However, it's worth noting that while the DC Elite's performance was commendable, it wasn't the absolute best I've heard with these headphones. Compared to more powerful portable DAC/amps and especially my desktop setup, I noticed a few subtle differences:

• Dynamic Constraints: While the overall dynamics were good, I felt a slight compression of dynamic range, particularly with the HD800. The loudest peaks lacked the same impact and authority I get with my desktop amp.
• Subtle Loss of Detail: While the DC Elite is generally very detailed, I felt a slight softening of micro-details and transients compared to more powerful sources. This was most noticeable in busy orchestral passages, where the separation and definition of individual instruments weren't quite as pristine.
• Soundstage Depth: The soundstage remained wide, but I felt a slight reduction in depth compared to my desktop setup. The layering of instruments wasn't as pronounced, and the overall presentation felt a touch less three-dimensional.

Planar Magnetic:

Planar magnetic headphones, with their large diaphragms and intricate driver designs, are known for being a bit power-hungry. So, I was eager to see how the DC Elite would handle the Hifiman Ananda Nano and the Meze Empyrean 2.

To my surprise, the DC Elite did a respectable job. It drove both headphones with decent authority, delivering a clean and dynamic sound. However, it definitely wasn't the most effortless pairing.

• Volume Level: I had to push the volume higher than usual to reach my preferred listening levels, especially with the Empyrean 2. While the DC Elite didn't distort or struggle, it was operating closer to its maximum output.
• Bass Impact: The bass impact, while still present, lacked the same visceral slam and authority I get with a more powerful amplifier. The sub-bass, in particular, felt a touch less impactful and extended.
• Dynamic Range: The overall dynamic range felt slightly compressed, particularly with the Empyrean 2. The quieter passages lacked the same nuance and detail, and the loudest peaks didn't have the same explosive energy.
• Soundstage Depth: While the soundstage width was still good, I felt a slight reduction in depth and layering compared to when these headphones are paired with a more capable amplifier.

Real-World Usage: Power requirements

Alright, let's get down to brass tacks and talk about how the DC Elite performs in the real world, specifically with my trusty Pixel 9 Pro XL and CMF Phone 1. I've been putting this combo through its paces for a while now, and I've got some insights to share.

I've noticed that the DC Elite does have a noticeable impact on my Pixel's and Phone 1's battery life compared to other dongles.

Here's a typical scenario:

• Streaming Music (Apple Music / Tidal): With my Bokeh connected and the volume at a moderate level, I've observed about an average of 10-15% battery drain per hour on my Pixel 9 Pro XL and Phone 1. However with a moderately demanding IEM, it was about 7-10%.
• Casual Listening (Local Files): When using IEMs and listening to locally stored files, the battery drain is less pronounced, around 5-8% per hour.

Sound Analysis:

Tonality:

The first impression the DC Elite makes is one of striking neutrality. It's like a pristine window into the music, faithfully reproducing the source material without imposing any noticeable colorations. This doesn't mean it's sterile or analytical; there's a subtle warmth that prevents it from sounding cold or clinical. Think of it as a perfectly tuned instrument, playing the music exactly as the artist intended.

Listening to "Imagine" by John Lennon, I was struck by the natural timbre of his voice and the delicate balance of the instruments. Each element occupied its own space, creating a harmonious whole. However, with more energetic tracks like "Seven Nation Army" by The White Stripes, I noticed a slight softening of the attack, which, while not unpleasant, deviated slightly from perfect neutrality.



Sub-Bass:

Prepare to be transported to the depths of the sonic spectrum, because the DC Elite's sub-bass performance is nothing short of remarkable. It plunges deep with authority, delivering a rumble that's both powerful and controlled. There's no hint of bloat or overhang, just a clean and textured response that adds weight and impact to bass-heavy tracks.

In "Why So Serious?" by Hans Zimmer, the ominous sub-bass resonated with a physical presence, adding a visceral dimension to the music. However, with "Chameleon" by Herbie Hancock, the sub-bass, while present, lacked the subterranean depth that I know exists in the recording. It's a subtle nuance, but one that discerning bass enthusiasts might notice.



Mid-bass:

The mid-bass is where the DC Elite truly flexes its muscles. It's tight, punchy, and incredibly textured, making every kick drum and bassline feel alive. There's a satisfying "thump" that adds a visceral quality to the music without ever becoming overwhelming or boomy.

"Billie Jean" by Michael Jackson is a prime example. The DC Elite rendered the song's iconic bassline with incredible precision and impact. Each note was distinct, with a texture that was both smooth and detailed. In contrast, the mid-bass in "Money" by Pink Floyd, while certainly present, lacked a bit of the "slam" that I was anticipating.



Lower Midrange:

The lower midrange is often a challenging area for audio gear, but the DC Elite handles it with finesse. Male vocals have a rich, full-bodied presence, while cellos and other instruments in this range resonate with warmth and clarity. There's no muddiness or congestion, just a natural and engaging presentation.

Listening to Johnny Cash's "Hurt," I was captivated by the depth and texture of his voice. The DC Elite captured every nuance of his performance, from the subtle vibrato to the gravelly undertones. However, with some female vocals, like Celine Dion in "My Heart Will Go On," I felt the lower midrange was a touch forward, adding a slight thickness to her voice that wasn't entirely accurate.



Upper Midrange:

Clarity and detail reign supreme in the upper midrange. Vocals are presented with exceptional clarity, and instruments like violins and trumpets shine with brilliance. There's a sense of airiness and openness that allows each element to breathe and express itself fully.

In "California Dreamin'" by The Mamas & The Papas, the harmonies were rendered with stunning clarity, each voice distinct and well-defined. Similarly, the trumpet in Miles Davis' "So What" was presented with a natural brilliance that was both captivating and realistic. However, with certain recordings, like "Don't Stop Believin'" by Journey, I noticed a slight emphasis in the upper midrange that occasionally led to sibilance, particularly on Steve Perry's vocals.




Lower Treble:

The lower treble is where detail and presence come to life, and the DC Elite handles this region with a delicate touch. Cymbal crashes have a natural shimmer, and strings possess a realistic bite. It's like the audio equivalent of a high-resolution photograph, where every detail is rendered with clarity and precision.

In "Hotel California" by The Eagles, the shimmer and decay of the cymbals were beautifully captured, adding a sense of realism to the music. However, in "Stairway to Heaven" by Led Zeppelin, the lower treble, while detailed, sometimes felt a tad restrained, lacking a bit of the "zing" that I know exists in the recording.



Upper Treble:

Venturing further into the frequency spectrum, we arrive at the upper treble, the realm of air and sparkle. The DC Elite extends effortlessly in this region, imbuing the music with a sense of openness and spaciousness. High-hats shimmer with a delicate sheen, and there's a crystalline clarity to high-pitched vocals. However, it's worth noting that this sparkle is carefully controlled, avoiding any excessive sibilance or harshness.

Listening to "Clair de Lune" by Debussy, I was mesmerized by the delicate shimmer of the piano's upper register. The DC Elite captured the ethereal beauty of the piece with stunning accuracy. On the other hand, in "Baba O'Riley" by The Who, the synthesizer's high notes, while clear, lacked a bit of the "bite" I was expecting.



Soundstage:

The DC Elite paints a vivid sonic picture, with a soundstage that's both wide and deep. Instruments are placed with precision, creating a holographic image that extends beyond the confines of your headphones. It's like being transported to a concert hall, where you can pinpoint the location of each musician with remarkable accuracy.

In "Bohemian Rhapsody" by Queen, the various vocal and instrumental layers were spread out before me like a tapestry, each element occupying its own distinct space. However, with a more intimate recording like "Hallelujah" by Leonard Cohen, the soundstage felt slightly less expansive than I anticipated.



Layering and Separation:

Even in the most complex musical passages, the DC Elite maintains a remarkable sense of separation between instruments. It's like having an orchestra laid out before you, each musician clearly defined within the sonic landscape. This allows you to appreciate the intricate interplay between different instruments without any sense of muddiness or congestion.

"The Great Gig in the Sky" by Pink Floyd is a prime example. The DC Elite effortlessly separates the various vocal and instrumental layers, allowing each element to shine through. However, in "Paradise By the Dashboard Light" by Meat Loaf, the dense instrumentation occasionally felt a tad congested, though still manageable.



Timbre:

One of the most impressive aspects of the DC Elite is its ability to reproduce the natural timbre of instruments and vocals. It's like listening to a live performance, where each instrument has its own distinct character and texture. From the warm resonance of a cello to the sharp attack of a trumpet, the DC Elite captures the essence of each sound with remarkable fidelity.

Listening to "Spanish Harlem" by Ben E. King, I was captivated by the natural warmth and richness of the saxophone. It sounded incredibly lifelike, with a timbre that was both accurate and engaging. However, with electronic music, like "Blue Monday" by New Order, the timbre felt slightly less organic, though still enjoyable.



Detail Retrieval:

Prepare to be amazed, because the DC Elite is a master of detail retrieval. It's like having a sonic magnifying glass, revealing subtle nuances and micro-details that you might have missed before. It's as if you're hearing your favorite music for the first time, discovering hidden treasures within familiar soundscapes.

In "Teardrop" by Massive Attack, the DC Elite revealed subtle textures in the background vocals that I'd never noticed before. Similarly, in "Stimela" by Hugh Masekela, the intricate percussion details were rendered with stunning clarity. However, with some poorly recorded tracks, the DC Elite's detail retrieval can be a double-edged sword, mercilessly exposing flaws in the recording.



Comparisons:

iBasso DC Elite vs. iBasso DC07 Pro:

These two siblings from iBasso share a common DNA of neutrality and transparency. However, there are subtle differences that discerning ears will pick up on.

• Detail Retrieval: The DC Elite has a slight edge in resolving fine details, presenting a more nuanced and layered soundstage. Tiny nuances in recordings, like the subtle textures of a brush on a snare drum or the delicate reverb trails in a vocal recording, are rendered with greater clarity.
• Soundstage: The DC Elite paints a slightly wider and deeper soundstage, giving instruments and vocals more breathing room. This creates a more immersive listening experience, particularly with well-recorded orchestral or live performances.
• Treble Presentation: The DC07 Pro has a slightly more energetic and forward treble presentation. This can add a sense of excitement and airiness to the music, but it can also border on harshness with certain recordings or sensitive headphones. The DC Elite, on the other hand, has a smoother and more refined treble that's less prone to sibilance.
• Bass Impact: The DC07 Pro, with its slightly higher power output, delivers a marginally more impactful bass response. However, the difference is subtle, and both dongles offer excellent control and texture in the low frequencies.

iBasso DC Elite vs. Luxury & Precision W4:

The L&P W4 takes a different approach to sound, prioritizing musicality and engagement over strict neutrality.

• Tonality: The W4 has a warmer and more forgiving tonality, with a slight emphasis on the midrange. This lends a sense of richness and intimacy to vocals and acoustic instruments. The DC Elite, in contrast, maintains a more neutral and balanced presentation across the frequency spectrum.
• Treble: The W4 has a noticeably smoother treble presentation, which some listeners might find more fatigue-free for long listening sessions. The DC Elite's treble, while well-extended and detailed, can be slightly more prominent, which might lead to fatigue with bright recordings or sensitive headphones.
• Soundstage: The DC Elite creates a wider and more holographic soundstage, giving instruments and vocals more space to breathe. The W4's soundstage, while still respectable, is slightly more intimate and less expansive.
• Detail Retrieval: The DC Elite has a slight advantage in resolving fine details, uncovering subtle nuances that might be masked by the W4's warmer tonality.

iBasso DC Elite vs. DITA Navigator:

The DITA Navigator shares some sonic similarities with the W4, but with its own distinct character.

• Warmth and Smoothness: Like the W4, the Navigator has a slightly warmer tilt to its sound signature, with a smooth and forgiving treble presentation. This makes it a good choice for those who prioritize a relaxed and fatigue-free listening experience.
• Soundstage: The DC Elite surpasses the Navigator in soundstage width and depth, creating a more immersive and three-dimensional sonic image.
• Detail Retrieval: The DC Elite's superior resolving capabilities allow it to uncover more micro-details in the music, revealing subtle textures and nuances that might be lost on the Navigator.
• Dynamic Range: The DC Elite exhibits a wider dynamic range, capturing the full spectrum of loud and soft passages with greater accuracy. The Navigator's dynamic range is more compressed, which can result in a slightly less impactful presentation.

iBasso DC Elite vs. Luxury & Precision W2 Ultra:

The L&P W2 Ultra punches above its weight in terms of sound quality, but the DC Elite still holds a clear advantage in overall sonic performance.

• Refinement: The DC Elite offers a more refined and nuanced sound, with greater clarity and detail retrieval. The W2 Ultra, while still enjoyable, can sound slightly veiled in comparison.
• Soundstage: The DC Elite creates a wider and more holographic soundstage, giving the music a greater sense of space and depth. The W2 Ultra's soundstage is more intimate and less expansive.
• Treble Extension: The DC Elite's treble extends further and with greater sparkle, adding airiness and openness to the music. The W2 Ultra's treble is smoother and less extended, which can result in a slightly darker overall presentation.
• Bass Control: The DC Elite exhibits tighter and more controlled bass, particularly in the mid-bass region. The W2 Ultra's bass, while still enjoyable, can be slightly looser and less defined.

Conclusion:

The DC Elite has proven itself to be a true force to be reckoned with in the portable audio arena. It's not just a dongle; it's a statement, a testament to iBasso's commitment to sonic excellence and engineering prowess.

From its robust titanium build to its meticulously engineered audio circuitry, the DC Elite exudes quality and sophistication. But it's not just about looks; this dongle delivers a sonic experience that rivals sources twice its cost. Its detailed and resolving sound, expansive soundstage, and impressive drivability make it a versatile companion for any audiophile on the go.

In a world of compromises, the iBasso DC Elite stands tall as a beacon of sonic excellence and uncompromising performance. It's not just the best dongle I've had the pleasure of using; it's a benchmark, a testament to what's possible in portable audio. If you're seeking a portable audio solution that delivers an uncompromised listening experience, look no further. The iBasso DC Elite is, simply put, the best dongle till date, period.

Preface:

I would like to thank Nostalgia Audio for sending this unit as part of the review tour.

You can purchase Durandal at the following link (not an affiliate link):

https://nostalgiaaudio.com/products/durandal

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Nostalgia Audio or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• Dita Navigator
• iBasso DC07 Pro
• iBasso DC Elite
• iBasso D16 Taipan
• FiiO M17
• RME ADI-2 Pro FS R
• Hugo 2 + 2go with & without XI Audio Broadway S
• Quloos QA390

Introduction:

Nostalgia Audio is a relatively new but ambitious player in the world of high-fidelity audio, specializing in IEMs. Founded by a group of passionate audiophiles, the company strives to deliver a premium listening experience through innovative designs and meticulous craftsmanship. Their philosophy centers around pushing the boundaries of audio technology while maintaining a focus on musicality and emotional engagement. This is reflected in their unique driver configurations, such as the tribrid setup found in their flagship Camelot model, and their dedication to research and development in areas like acoustics and materials science.

Technical Specifications:​

• 7 Individual Drivers, Tribrid Design
• 1 Dynamic Driver - Bass
• 2 Bone Conduction Vibrator - 2 Mid-Low
• 4 Balanced Armature Drivers - 2 Mid-High, 2 High
• 4-Way Crossover Design
• Spiral Flow Device
• Impedance: 15 Ohms @ 1kHz
• Frequency Response: 12 Hz - 30kHz
• Sensitivity: 115dB @ 1kHz, 1mW

Hruodland - Vortex Cables

• Core：4N OCC Silver
• Shielding：Silver Plated 5N LC-OFC
• Size：21.3 AWG
• Connector：CM 2-pin
• Jack：4.4 mm

Box Contents:

• Durandal 1DD 4BA 2BC IEMs
• Hruodland OCC Silver Cable
• Aluminum Protective Case
• Metal Card
• Exquisite Leather Pad
• Commemorative Ancient Coin and Necklace
• Nylon Mesh Protection Bag
• Nostalgia Audio XWB Ear Tips
• Custom Royal Blue Symbio W Ear Tips

Unboxing Experience:

Nostalgia Audio clearly believes in the importance of presentation. The packaging for their Camelot and Lancelot was undeniably impressive and the packaging for Durandal is a notch above.

The outer box of the Durandal is a work of art in itself. The most striking feature is the monochromatic illustration that adorns the lid. It depicts a medieval battle scene, rendered in intricate detail with fine linework. A warrior, wielding the legendary Durandal sword (rendered in a striking blue), stands amidst a chaotic clash of swords and arrows. Fallen comrades lie around him, while a rain of arrows descends from the sky. The overall effect is one of dramatic intensity and epic grandeur, perfectly capturing the legendary aura of the Durandal name.

Inside the box, every detail has been carefully considered. Even the small tab used to pull out the inner contents is designed to look like the Durandal sword. This attention to detail enhances the unboxing experience, making it feel like a special occasion.

The box itself is quite sturdy and an improvement over Camelot's packaging. It's a fittingly grand presentation for a flagship IEM, setting the stage for a sonic experience that's as epic and captivating as the artwork on the box.




























Design and Build:

Holding the Durandal in my hand, I'm immediately struck by the sheer quality of the craftsmanship.The faceplate is a mesmerizing blend of artistry and craftsmanship, a visual symphony that echoes the sonic excellence within. Imagine a miniature portal into a fantastical realm, where intricate designs and vibrant colors intertwine to create a captivating spectacle.

The dominant hue is a deep, royal blue, reminiscent of the sapphire blades wielded by mythical heroes. This rich color forms the canvas for a mesmerizing tapestry of intricate patterns. Delicate silver lines, reminiscent of elven script or celestial constellations, weave across the surface, creating a sense of depth and dimension.

At the center of this visual symphony lies the emblem of the Durandal – a stylized sword, rendered in gleaming silver. This iconic symbol, both elegant and powerful, serves as a constant reminder of the legendary heritage that inspired these IEMs. It's a visual feast that invites closer inspection, revealing new details and nuances with every glance.













Cable:

Nostalgia Audio didn't skimp on the cable for the Durandal. They partnered with Vortex Cables to create the Hruodland, a bespoke cable that complements the IEMs both sonically and aesthetically.

The four-color braid adds a touch of visual interest, while the silk yarn wrapping gives it a luxurious feel. But it's not just about looks. The single-crystal silver construction ensures excellent signal transmission, bringing out the best in the Durandal's drivers.

Technically, the cable utilizes a Shielded Twins Pair structure with an S-Z Multi Strand core. This minimizes interference and improves conductivity, resulting in a cleaner sound with a blacker background.









Overall, the Durandal's design and build are a testament to Nostalgia Audio's commitment to quality and craftsmanship. The earpieces are both elegant and functional, while the cable is both durable and aesthetically pleasing.

Wearing Comfort:

Now, let's talk about comfort. I've always been a bit sensitive to IEM fit, but the Durandal was not an issue at all. The earpieces are ergonomically shaped and surprisingly lightweight, nestling comfortably in my ears without any uncomfortable pressure points. I had no issues ensuring the shells makes proper contact with my concha for the bone conduction drivers to do their thing despite my small ears. I've worn them for hours on end without any fatigue.

That said, finding the right ear tips is crucial. The included selection is great however I could not get the Symbio W tips to fit inside my small ear canals even though I used S size and I ended up swapping them out for Eletech Baroque & Spinfit Omni tips to achieve a truly perfect seal. Once I did that, the Durandal practically disappeared into my ears, providing excellent isolation and a secure fit.





Driveability:

Driving the Durandal hasn't been an issue. I've used them with DC07 Pro, DC Elite, Dita Navigator, and they've performed admirably with all of them. The sound is clear and detailed, with no noticeable hiss or distortion even at lower volumes.

However, I did notice a significant improvement when I paired them with Hugo 2, XI Audio Broadway S and Quloos QA390. The soundstage opened up, the dynamics became more pronounced, and the overall presentation gained a level of refinement that wasn't quite there with just dongles (except for DC Elite). So, while the Durandal is certainly easy to drive, it definitely scales well with better amplification. If you're serious about getting the most out of these IEMs, investing in a decent amp is definitely worth considering.





Sound Analysis:

Now, before we embark on this auditory adventure, let's address the elephant in the room (or should I say, the dragon in the ear canal?). The Durandal boasts a rather unique configuration of drivers: a dynamic driver for the lows, not one, but two bone conduction drivers for the lower mids (yes, you read that right!), and a quartet of balanced armature drivers for the higher mids and treble. This intricate setup, coupled with a meticulously designed 4-way crossover, promises a sonic experience that's both technically impressive and musically captivating. But does it deliver? Read on.

Tonality:

The Durandal, to my ears, strikes a delightful balance between neutrality and warmth. It's not a strictly reference-tuned IEM, nor is it overly warm and syrupy. Instead, it occupies a comfortable middle ground, offering a presentation that's both accurate and engaging. Imagine a perfectly brewed cup of Earl Grey tea – the subtle warmth adds a touch of comforting richness without masking the inherent character of the tea leaves. This balanced approach is immediately apparent when listening to Fleetwood Mac's "Landslide." The delicate fingerpicking of the acoustic guitar is rendered with a natural warmth and resonance, while Stevie Nicks' vocals are presented with a captivating intimacy and clarity. The Durandal captures the emotional nuances of the performance without any artificial coloration or exaggeration. However, I did notice a slight tendency towards warmth in the lower midrange, which, while generally pleasant, can occasionally add a touch of thickness to male vocals, particularly in baritone-heavy tracks like Johnny Cash's "Hurt." While Cash's iconic voice retains its gravitas and emotion, a hint of added weight in the lower registers prevents it from sounding as crisp and articulate as it could.

Sub-Bass:

Prepare to descend into the subterranean depths of the Durandal's sub-bass performance. The custom-designed 9.2mm dynamic driver doesn't just rumble; it plunges into the abyss with the force of a kraken unleashed. Massive Attack's "Teardrop" is a prime example. The deep, pulsating bassline in this track reverberates with a palpable physicality, each note cleanly articulated and imbued with a sense of weight and texture that anchors the ethereal vocals and haunting melodies. It's like feeling the earth tremble beneath your feet as a storm gathers on the horizon. However, while the Durandal excels at delivering deep, impactful bass, it occasionally struggles to maintain the same level of control and articulation in faster, more complex basslines. In Infected Mushroom's "Becoming Insane," the rapid-fire bass drops can sound slightly congested, lacking the same level of precision and definition found in the slower, more sustained bass notes.

Mid-Bass:

Ascending from the depths, we encounter the mid-bass, where the Durandal continues to impress with its impactful yet nuanced presentation. Take Radiohead's "Nude," for instance. The pulsating bassline that underpins this melancholic track is rendered with a satisfying punch and texture, driving the music forward without ever becoming overbearing. It's like a heartbeat, providing a rhythmic pulse that anchors the song's emotional core. The Durandal's ability to convey the subtle dynamics and textural nuances of the bassline is a testament to its impressive mid-bass capabilities. However, in tracks with a more aggressive and prominent mid-bass presence, such as Meshuggah's "Bleed," the Durandal can sometimes exhibit a slight mid-bass hump, adding a touch of extra warmth and thickness to the already dense mix. While this can add a sense of weight and power to the music, it can also slightly obscure the finer details in the lower midrange.

Lower Midrange:

This is where the Durandal's unique bone conduction drivers truly come into their own. These unconventional transducers are renowned for their ability to reproduce vocals with exceptional naturalness and clarity. London Grammar's "Hey Now" is a perfect showcase for this. Hannah Reid's ethereal vocals are presented with a captivating intimacy and clarity. The Durandal captures the delicate nuances of her voice, the subtle vibrato, the gentle inflections, with a level of detail that's truly remarkable. It's as if she's whispering secrets directly into your ears. However, as mentioned earlier, the slight warmth in the lower midrange can occasionally add a touch of thickness to male vocals, particularly in baritone-heavy tracks.

Upper Midrange:

The upper midrange maintains the same level of clarity and detail as the lower midrange, ensuring that instruments such as guitars and pianos are rendered with a natural timbre and a pleasing presence. John Mayer's "Neon" is a testament to this. Mayer's intricate guitar work is reproduced with stunning clarity and articulation. Each note rings out with a natural timbre and a vibrant presence, allowing you to appreciate the subtle nuances of his playing. The Durandal's ability to convey the emotion and energy of Mayer's performance is truly remarkable. However, in tracks with a particularly busy upper midrange, such as Dream Theater's "The Dance of Eternity," the Durandal can sometimes struggle to maintain the same level of separation and clarity. While the individual instruments are still discernible, the overall presentation can sound slightly congested, lacking the same level of airiness and openness found in less demanding passages.

Lower Treble:

As we ascend into the lower treble, the Durandal's balanced armature drivers take center stage, delivering a crisp and detailed presentation with a focus on clarity and accuracy. Steely Dan's "Aja" is a prime example. The intricate percussion work in this track, with its layers of cymbals, hi-hats, and other percussive elements, is a true test of an IEM's lower treble performance. The Durandal passes with flying colors, rendering each element with precision and clarity. You can practically hear the individual drum sticks striking the cymbals, the subtle shimmer of the ride cymbal, and the crisp attack of the hi-hats. However, in tracks with a particularly prominent lower treble presence, such as Metallica's "Master of Puppets," the Durandal can occasionally sound a touch bright and edgy, particularly during the intense guitar solos. While this adds a sense of excitement and energy to the music, it can also lead to listening fatigue after extended periods.

Upper Treble:

The upper treble extends smoothly, adding a touch of air and sparkle to the music without any hint of harshness or sibilance. "Clair de Lune" by Claude Debussy exemplifies this beautifully. The delicate piano melodies in this track are rendered with a crystalline clarity and a beautiful shimmer. The Durandal captures the ethereal beauty of the piece, allowing the notes to hang in the air with a delicate shimmer. However, while the upper treble is generally well-extended and detailed, it can occasionally lack a touch of "sparkle" and airiness in recordings that are inherently dark or lacking in high-frequency information.

Soundstage:

The Durandal's soundstage, while not the widest or deepest, is remarkably well-defined and holographic. Instruments and vocals are placed with pinpoint accuracy, creating a realistic sense of space and depth. "Pink Floyd - Comfortably Numb" is a perfect example. The expansive soundscapes and swirling guitar solos in this classic track are rendered with a remarkable sense of space and depth. The Durandal allows you to pinpoint the individual instruments within the mix, creating a truly immersive listening experience. You can practically feel the music swirling around you, enveloping you in its sonic embrace. However, while the soundstage is well-defined and holographic, it's not the most expansive I've encountered. In recordings with a particularly wide and spacious soundstage, such as "Holst - The Planets," the Durandal can sound slightly constrained, lacking the same sense of scale and grandeur that some other IEMs can achieve.

Layering and Separation:

Even with complex orchestral pieces, the Durandal maintains a remarkable sense of separation and layering. "Gustav Mahler - Symphony No. 5" is a testament to this. This sprawling symphony is a true test of an IEM's ability to handle complex orchestral arrangements. The Durandal rises to the challenge, effortlessly separating the various instrumental sections and vocal lines. You can clearly hear the interplay between the strings, woodwinds, brass, and percussion, each instrument occupying its own distinct space within the soundstage. However, in extremely dense and complex passages, such as the climax of Stravinsky's "The Rite of Spring," the Durandal can occasionally struggle to maintain the same level of separation and clarity. While the individual instruments are still discernible, the overall presentation can sound slightly congested.

Timbre:

The Durandal excels at reproducing instruments and voices with a natural and realistic timbre. "Norah Jones - Come Away With Me" is a perfect showcase for this. Jones' smoky vocals and the intimate piano accompaniment are rendered with a natural warmth and intimacy. The Durandal captures the nuances of her voice and the delicate touch of the piano keys with remarkable fidelity, creating a listening experience that's both relaxing and engaging. However, the slight warmth in the lower midrange can occasionally impart a slightly "euphonic" coloration to certain instruments, particularly cellos and male vocals.

Detail Retrieval:

The Durandal is a detail retrieval machine, uncovering subtle nuances and micro-details that you might have missed with other IEMs. "Snarky Puppy - Lingus" is a prime example. This complex and dynamic jazz fusion track is packed with intricate instrumental interplay and subtle sonic details. The Durandal reveals these nuances with remarkable clarity, allowing you to appreciate the individual performances and the intricate interplay between the musicians. You can hear the subtle inflections in the bassline, the delicate cymbal work, and the intricate interplay between the horns and keyboards. However, while the Durandal excels at revealing micro-details, it can sometimes overemphasize them, particularly in recordings that are already bright or sibilant.

Conclusion:

Durandal is a truly impressive IEM that delivers a highly enjoyable listening experience. Its unique tribrid design results in a detailed and revealing sound signature that's well-balanced across the frequencies and extremely coherent sounding.

One of the Durandal's greatest strengths is its ability to reproduce instruments and vocals with a natural timbre and impressive accuracy. This, combined with a well-defined soundstage, creates a captivating and immersive soundscape.

While it may exhibit a touch of warmth in the lower midrange and a slight sensitivity in the treble, these characteristics don't detract significantly from its overall performance.

With its combination of technical prowess and musicality, the Nostalgia Audio Durandal is a compelling choice for those seeking a refined and engaging listening experience. It represents a commendable effort from Nostalgia Audio in the competitive world of high-end IEMs.

Preface:

I would like to thank HiFiGo for sending this unit as part of the review tour.

You can purchase P5+2 / P7 at the following link (not an affiliate link):
https://hifigo.com/collections/in-ear/products/aful-performer-7

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by HiFiGo, Aful or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• iBasso D16 Taipan
• iBasso DC Elite
• Chord Hugo 2 + 2go
• Quloos QA390
• Gungnir + XI Audio Broadway S

Introduction:

Aful has quickly become a brand I associate with exciting and innovative IEMs. After having thoroughly enjoyed their previous releases like the P5, P8, Magic One, Explorer and their flagship Cantor, I was eager to see what they'd achieve with their new successor to P5, the P5+2 or P7 as some would call it. Aful's dedication to research and development shines through in their products, consistently pushing the boundaries of audio quality in their respective price brackets. So, when the P7 finally arrived, I was ready to be wowed.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)(You can choose 4.4mm or both 3.5 & 4.4 terminated cables)
• 09 pairs of silicone tips (3 X S/M/L)
• 01 Plastic IEM carry case

Specifications:

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

Unboxing Experience:

The P5+2 comes in a sleek, well-designed box that exudes a sense of quality. The box is made of sturdy cardboard and features a minimalist design with the Aful logo prominently displayed. Inside the box, you'll find the P5+2 IEMs, a carrying case, a variety of ear tips, a high-quality cable with 3.5mm or 4.4mm connectors, and a warranty card.

Design and Build:​

P7 features a unique and eye-catching faceplate design. It's made of high-quality resin with a mesmerizing geometric pattern reminiscent of stained glass, showcasing a striking blue and black color scheme. This intricate design, reminiscent of traditional Chinese art, adds a touch of elegance and sophistication. The AFUL logo is prominently displayed in the center, adding a subtle branding touch.













P7 comes with a high-quality 8-strand, 144-core copper cable with silver plating. This cable is both durable and flexible, and it provides excellent sound quality.






Wearing Comfort:

Slipping the Aful P5+2 into my ears was a pleasant surprise. They are incredibly lightweight and disappear almost entirely once seated. One notable design element is the nozzle length, which is on the longer side, similar to Aful's flagship Cantor. This design choice might raise concerns about comfort, but I found the P5+2 to be surprisingly comfortable for extended listening sessions. The ergonomic shape and well-chosen ear tips ensured a secure and comfortable fit with no discomfort even with those longer nozzles.



This comfort translates well into long listening sessions, with no fatigue or hotspots developing even after hours of use. The secure fit also means these IEMs stay put, making them suitable for active use. Isolation is another strong point, effectively blocking out a good amount of external noise without creating an entirely sealed-off feeling.



Driveability:

When it comes to driving the P5+2, they proved to be quite versatile. Their relatively low impedance and high sensitivity mean they can be driven to satisfying volumes by most smartphones and portable audio players. However, like many IEMs in this category, they do scale with better sources and amplification. Pairing them with a dedicated DAP or a headphone amplifier opened up the soundstage and improved dynamics and overall clarity. This flexibility makes the P5+2 a great option for users who want an IEM that can be enjoyed on the go with a phone and also shine when connected to a more sophisticated setup at home.

Sound Analysis:​

Tonality:

The P5+2 doesn't immediately jump out and scream "I'M WARM!" or "I'M BRIGHT!" No, it's more subtle than that. Think of it as a neutral canvas with a delicate wash of warmth, particularly in the lower mids. This makes for a generally pleasing and non-fatiguing listen, even for extended periods. However, those seeking a truly analytical and reference-grade IEM might find it a tad too laid-back.

Sub-Bass:

Alright, bassheads, listen up. The P5+2 packs a surprising amount of sub-bass punch for its size. Dual dynamic drivers are no joke, apparently. Listening to "Why So Serious?" from The Dark Knight soundtrack, the low-frequency effects rumbled with authority, adding a visceral dimension to the Joker's menacing theme. However, the decay is a touch slower than I'd prefer, which can sometimes muddy the waters in busy passages. This was noticeable in "Angel" by Massive Attack, where the sub-bass felt a bit bloated and lacked the crispness I crave.

Mid-Bass:

Moving up the frequency spectrum, the mid-bass is thankfully more controlled. It delivers a satisfying thump without overwhelming the other frequencies. The texture is quite good, allowing me to discern the nuances of different bass instruments. "Can't Stop" by the Red Hot Chili Peppers showcased this nicely, with Flea's bass lines possessing a palpable sense of groove and definition. However, I did notice a slight lack of impact compared to some other IEMs in this price range.

Lower Midrange:

Ah, the lower midrange, where warmth and body reside. The P5+2 has a slight emphasis here, which adds a touch of richness and fullness to male vocals and instruments like cellos and baritone saxophones. Leonard Cohen's voice in "Hallelujah" sounded absolutely divine, with a weight and presence that sent shivers down my spine. However, this emphasis can occasionally lead to a slight masking of details in the upper bass region.

Upper Midrange:

The upper midrange is where things get interesting. The P5+2 strikes a good balance between clarity and smoothness. Vocals, both male and female, are presented with good detail and articulation, without veering into harshness. Listening to "Hide and Seek" by Imogen Heap, her voice soared effortlessly, with every nuance and inflection clearly rendered. However, I did find the upper midrange to be slightly recessed compared to the lower midrange, which can sometimes rob female vocals of a bit of their presence and "bite."

Lower Treble:

The lower treble is crucial for bringing out the shimmer and sparkle in cymbals and hi-hats. Thankfully, the P5+2 doesn't disappoint. It delivers a good amount of detail and presence in this region, without becoming overly aggressive or fatiguing. "In the Air Tonight" by Phil Collins is a classic test track for lower treble, and the P5+2 handled the iconic drum fill with aplomb. However, the decay could be a tad faster for my liking, as cymbal crashes lingered a bit longer than I'm used to.

Upper Treble:

The upper treble is often a make-or-break area for me. Too much, and it's sibilance city. Too little, and the music sounds dull. The P5+2 walks the tightrope quite well. It extends smoothly into the upper frequencies, adding air and sparkle without any harshness or sibilance. "Clair de Lune" by Debussy shimmered with ethereal beauty, showcasing the P5+2's ability to reproduce delicate high-frequency details. However, I did notice a slight roll-off in the extreme highs, which might leave some listeners wanting a bit more "air."

Soundstage:

The P5+2's soundstage is quite impressive for an IEM. It's not quite holographic, but it creates a convincing sense of space and depth. Instruments are well-defined and positioned accurately within the soundstage. Listening to "Bohemian Rhapsody" by Queen, I could clearly visualize the different instruments spread across the stage. However, the width of the soundstage is somewhat limited, which can sometimes make the presentation feel a bit "closed in."

Layering and Separation:

The P5+2 does a commendable job of separating individual instruments and vocals in complex musical passages. In "Baba O'Riley" by The Who, the various layers of guitars, keyboards, and vocals were clearly delineated, allowing me to appreciate the intricacies of the arrangement. However, the separation isn't quite as pristine as some of the top-tier IEMs I've heard. In particularly dense orchestral pieces, some instruments can get a bit lost in the mix.

Timbre:

Timbre, or the tonal quality of instruments, is generally quite good on the P5+2. Most instruments sound natural and realistic. However, there are a few quirks. The lower midrange warmth can sometimes add a slightly "thick" quality to certain instruments, and the upper treble roll-off can rob some instruments of their natural "air" and sparkle.

Detail Retrieval:

The P5+2 is a capable performer when it comes to detail retrieval. It reveals a good amount of subtle nuances and micro-details in the music. Listening to "Teardrop" by Massive Attack, I was struck by the clarity of the subtle textures in the background. However, the detail retrieval isn't quite as resolving as some of the flagship IEMs on the market.

Comparisons:

Aful P5+2 vs. Aful P5:

Think of the P5+2 as the P5's more refined older sibling. While the P5 was no slouch, the P5+2 brings noticeable improvements across the board. The bass digs deeper, with more sub-bass rumble thanks to the dual dynamic driver configuration. The midrange, while already good on the P5, gains clarity and resolution in the P5+2. Treble is where the biggest difference lies. The P5+2 introduces a micro planar driver, which adds air and sparkle without the harshness that sometimes plagued the P5's BA treble. Soundstage also gets a boost, with improved width and depth. In essence, the P5+2 takes the solid foundation of the P5 and elevates it with enhanced technicalities and refinement.

Aful P5+2 vs. Juzear 61T:

This is a closer match-up. Both IEMs offer a balanced sound signature with a focus on technical performance. However, there are some key differences. The P5+2 has a warmer overall tonality, particularly in the lower midrange, which adds a touch of richness to vocals and instruments. The 61T, on the other hand, has a leaner presentation with a greater emphasis on clarity and detail retrieval. Bass on the P5+2 is more impactful, especially in the sub-bass region, while the 61T has a faster and tighter bass response. Treble on both is well-extended, but the P5+2 has a smoother, more forgiving presentation, while the 61T can be a bit more energetic, bordering on bright. Soundstage is wider on the P5+2, while the 61T has a slight edge in imaging precision. Ultimately, the choice between these two comes down to personal preference. If you prefer a warmer, more forgiving sound with a wider soundstage, the P5+2 is the way to go. If you prioritize ultimate clarity, detail, and a leaner sound, the 61T might be a better fit.

Aful P5+2 vs. Tanchjim Origin:

The Tanchjim Origin is known for its neutral tonality and natural timbre. Compared to the Origin, the P5+2 has a warmer tilt with a slightly more emphasized bass response. This gives the P5+2 a more "fun" and engaging sound signature, while the Origin leans towards a more analytical and reference-like presentation. Midrange on both is excellent, with good clarity and detail retrieval. However, the P5+2's lower midrange warmth adds a touch of body and richness to vocals that some might find more appealing. Treble on the P5+2 extends a bit further and has more sparkle, while the Origin is smoother and more laid-back. Soundstage is comparable on both, with good width and depth. Ultimately, the choice between these two depends on your preferred tonality. If you want a neutral and natural sound with a focus on accuracy, the Origin is a great option. If you prefer a warmer, more engaging sound with a bit more bass presence, the P5+2 is the winner.

Conclusion:

The Aful P5+2 emerges as a compelling option in the ever-expanding world of IEMs. It masterfully blends technical proficiency with musicality, creating a sound that is both detailed and engaging. While not perfectly neutral, its slight warmth and forgiving nature make for a truly enjoyable listening experience.

From impactful bass to sparkling highs, the P5+2 paints a vivid and immersive soundscape. Its spacious soundstage and commendable instrument separation breathe life into your favorite tracks.

Coupled with its striking design, comfortable fit, and robust build quality, the P5+2 offers a complete package that's hard to resist. While purists seeking ultimate accuracy might prefer a more neutral option, those who appreciate a touch of musical warmth and a forgiving presentation will find the P5+2 a delightful sonic companion.

In short, the Aful P5+2 delivers impressive performance and value, making it a worthy contender for any audiophile's collection.

Preface:

You can purchase Elua at the following link (not an affiliate link):
https://www.linsoul.com/products/7hz-x-hbb-elua?_pos=1&_psq=elua&_ss=e&_v=1.0

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, 7Hz or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso D16 Taipan
• iBasso DC Elite
• Quloos QA390
• Chord Hugo 2 + 2go
• Onix Overture XM5

Introduction:

7Hz, is already a known name in the audiophile world, hails from China. They've quickly gained a reputation for producing IEMs that offer exceptional value for money, often punching well above their weight class. Personally, I've been thoroughly impressed with their previous releases, especially the Zero, Zero 2, and Timeless – each offering a unique flavor of sonic excellence.

Now, 7Hz is back with the Elua after the G1, a dual dynamic driver IEM in collaboration with HBB that promises to deliver a captivating listening experience at an incredibly accessible price point.



Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 05 pairs of silicone tips

Specifications:

Impedance : 18Ω
Sound Pressure Level : 107 dB/V @ 1 kHz
Frequency Range : 10-20,000Hz
THD (Total Harmonic Distortion) : < 0.5% @ 1kHz
Driver Type : Dual Dynamic Driver

Unboxing Experience:

The Elua's packaging reflects its budget-friendly philosophy: functional and straightforward. It's a compact box that houses the essentials without any unnecessary extravagance. Inside, you'll find the IEMs themselves, nestled securely, along with a selection of ear tips and a detachable cable. What you will not find is a carrying pouch unlike their G1 which I would've appreciated more. It's a minimalist presentation that prioritizes substance over style, reminding us that it's the sound that truly matters, not the box it comes in.

Design and Build:​

The Elua IEMs sport a sleek, transparent design that allows you to glimpse the inner workings. The clear plastic shell showcases the dual dynamic drivers and their intricate wiring, adding a touch of visual intrigue. The faceplates feature a contrasting textured design, with the 7Hz logo and Elua name subtly etched in.

While the overall design is visually appealing, there are a couple of points worth noting. Firstly, the seams where the transparent shell meets the faceplates are visible, potentially detracting from the otherwise clean aesthetic. Secondly, the plastic used for the shells, while durable, feel a bit flimsy













The detachable cable is made of a flexible, tangle-resistant material, and it terminates in a 3.5mm jack. While the cable is functional, it could be slightly upgraded for improved durability and tangle resistance. It feels a bit thin and might leave you wanting a bit more in terms of suppleness and tangle resistance.

Wearing Comfort:​

The Elua lives up to its name, which translates to "light" in Hawaiian. These IEMs are incredibly lightweight and comfortable to wear, even for extended periods. The ergonomic design ensures a secure fit, and the variety of included ear tips allows for a personalized seal. This combination of factors makes the Elua ideal for long listening sessions or for use on the go, as they stay comfortably in place even during active movement.

Driveability:

The Elua's low impedance and high sensitivity make it incredibly easy to drive. Whether you're using a smartphone, a laptop, a dongle or a dedicated DAP, you won't need an incredibly powerful amplifier to unlock its full potential. I did not observe any major difference in SQ going from a dongle to a powerful desktop amp.

Sound Analysis:​

Tonality:

The Elua extends a warm, inviting sonic hug. This warmth, primarily centered around the mid-bass, imbues the music with a full-bodied and satisfying character, akin to wrapping yourself in a cozy sonic blanket. Thankfully, it stops short of becoming excessively bloated or muddy, thanks to a well-controlled bass response and a relatively smooth treble presentation, ensuring a non-fatiguing listen even during marathon listening sessions. This warmth is immediately apparent in tracks like Gregory Porter's "Liquid Spirit," where his velvety baritone vocals are rendered with a rich and inviting tone.

Sub-Bass:

• Depth: The Elua plunges deeper than its budget-friendly price might suggest. While it might not reach the subterranean depths of dedicated basshead IEMs that people have come to expect from HBB's collabs, it provides a solid foundation for bass-heavy tracks, like a sturdy bedrock upon which the sonic landscape is built. This is evident in Lorde's "Royals," where the deep bass notes underpinning the track are reproduced with surprising authority, adding weight and gravitas to the song's minimalist production.
• Rumble: Rumble is present, but it's more of a gentle hum than a full-bodied earthquake. This suggests that the Elua prioritizes depth over sheer visceral impact. For instance, in Hans Zimmer's "Why So Serious?" from The Dark Knight soundtrack, the deep bass notes that underpin the track's tension are present but lack the bone-rattling intensity that a bass head IEM might deliver.
• Decay: Sub-bass decay leans towards the leisurely side, contributing to the Elua's overall warmth. This relaxed decay can add a pleasing fullness, but it might blur the lines in faster, more complex passages, like a lingering echo in a cavernous hall. This is noticeable in Massive Attack's "Teardrop," where the slow decay of the sub-bass adds to the track's melancholic atmosphere. However, in a fast-paced electronic track like Noisia's "Machine Gun," the slower decay can make the bass lines sound slightly less defined.

Mid-Bass:

• Impact: This is where the Elua truly flexes its muscles. The mid-bass delivers a satisfying punch and impact, injecting the music with an infectious energy that makes it impossible to sit still. This is readily apparent in Daft Punk's "Around the World," where the driving bass line hits with a tight, impactful thump that compels you to tap your feet and nod your head.
• Texture: Mid-bass texture is well-defined, allowing you to discern the nuances of different bass instruments and electronic sounds, like a skilled sculptor revealing the intricate details of their creation. This is beautifully showcased in Marcus Miller's "Run for Cover," where the intricate bass lines are rendered with clarity and precision.
• Decay: Mid-bass decay is slightly faster than the sub-bass, striking a good balance between impact and clarity. It's like a drumbeat that resonates with authority but doesn't overstay its welcome. This is evident in Red Hot Chili Peppers' "Can't Stop," where Flea's energetic bass lines are rendered with a satisfying punch and a clean decay.

Lower Midrange:

• Presence: The lower midrange has a warm, inviting presence that adds body and richness to vocals and instruments, like a comforting fire on a cold winter's night. This is particularly noticeable in Leonard Cohen's "Hallelujah," where his deep baritone vocals are imbued with a sense of intimacy and warmth.
• Warmth: The warmth in the lower midrange contributes to the Elua's overall musicality, making it a joy to listen to for hours on end. It's like a favorite sweater that you never want to take off. This warmth adds a touch of nostalgia and romance to the trumpet's tone in Chet Baker's "My Funny Valentine."

Upper Midrange:

• Clarity: The upper midrange is clear and articulate, allowing vocals and instruments to shine through with detail and precision, like a perfectly polished lens bringing the music into sharp focus. This is evident in Joni Mitchell's "Both Sides Now," where her vocals are presented with exceptional clarity, allowing you to appreciate the nuances of her phrasing and emotion.
• Detail: The Elua reveals a good amount of detail in the upper midrange, allowing you to hear the subtle textures of instruments and the intricacies of vocal performances, like a magnifying glass revealing hidden treasures in a familiar landscape. This is exemplified in Dire Straits' "Money for Nothing," where Mark Knopfler's intricate guitar work is rendered with clarity and detail.

Lower Treble:

• Detail: The lower treble is well-extended and detailed, adding sparkle and air to the sound without becoming harsh or fatiguing. This is like a subtle shimmer on a still lake, adding a touch of magic to the music. This is beautifully illustrated in Radiohead's "Paranoid Android," where the shimmering cymbal crashes and intricate guitar lines are rendered with clarity and precision.
• Presence: The treble presence is well-balanced, adding a sense of openness and airiness to the soundstage without becoming overly forward or sibilant. It's like a gentle breeze carrying the music through the air. This is evident in Norah Jones' "Don't Know Why," where the delicate piano notes are rendered with a gentle touch, adding a sense of intimacy and warmth to the track.
• Decay: Treble decay is natural and smooth, contributing to the Elua's overall non-fatiguing sound. It's like a fading echo that gently disappears into the distance. This natural decay is showcased in Dave Brubeck's "Take Five," where the vibraphone notes ring out with a pleasing resonance.

Upper Treble:

• Extension: The upper treble extends reasonably well, providing a sense of air and sparkle to the music. However, there's a slight roll-off, preventing it from achieving the ultimate level of detail and brilliance. This is like a star that shines brightly but is slightly obscured by a thin veil of clouds. This is noticeable in Beethoven's Symphony No. 5, where the high-pitched strings and piccolo flourishes are present but lack the ultimate sparkle and air that a more resolving IEM might provide.
• Sparkle: While not the most prominent characteristic, the Elua does offer a subtle sparkle in the upper treble that adds a touch of brilliance to the music, like a sprinkle of fairy dust on a moonlit meadow. This subtle shimmer is evident in Queen's "Bohemian Rhapsody," where the high notes in Freddie Mercury's vocal runs have a subtle shimmer that adds to the track's dramatic flair.
• Sibilance: The Elua handles sibilance with grace, avoiding any harshness that can be fatiguing over time. This is like a smooth, flowing stream that avoids any jarring rocks or rapids. This is exemplified in Sarah McLachlan's "Angel," where her vocals are smooth and free of sibilance, even in the higher registers.

Soundstage:

The Elua paints its sonic images on a canvas that's surprisingly wide for its price point. It extends beyond the confines of your head, creating a sense of spaciousness that's particularly noticeable in well-recorded orchestral pieces like Holst's "The Planets," where the expansive orchestration breathes and unfolds with a pleasing sense of width, allowing the different sections of the orchestra to occupy their own distinct spaces. Depth is also respectable, though not as pronounced as the width. Instruments are layered with a discernible sense of front-to-back positioning, as heard in Pink Floyd's "Wish You Were Here," where the layered vocals and instruments have a sense of depth, drawing you into the song's melancholic atmosphere. Height is perhaps the least emphasized dimension, not feeling claustrophobic but not creating a towering sense of verticality either. This is noticeable in tracks like Arcade Fire's "Wake Up," where the soaring vocals and instrumentation have a sense of upward reach, but the height is somewhat limited compared to IEMs with a more pronounced vertical soundstage.

Overall, the Elua's soundstage creates a good sense of immersion, especially for its price point. It's not the most expansive or holographic presentation, but it's spacious enough to draw you into the music. This is particularly evident in Sigur Rós's "Hoppípolla," where the ethereal soundscapes are presented with a sense of space and atmosphere that envelops the listener, transporting them to another world.

Layering and Separation:

Even amidst a chaotic symphony of sounds, the Elua maintains admirable composure, deftly separating individual instruments and vocals. Instruments don't blend together into an indistinct mass; instead, they retain their individual character and position within the soundscape, like stars shining brightly against the backdrop of the night sky. This is particularly impressive in complex tracks like Dream Theater's "The Dance of Eternity," where the intricate instrumental interplay is handled with impressive clarity, allowing you to follow the individual lines even during the most frenetic passages.

Layering is also well-executed, with instruments occupying distinct planes, creating a sense of three-dimensionality, like a meticulously arranged still life painting. This is beautifully showcased in Queen's "Bohemian Rhapsody," where the layered vocals and harmonies are presented with distinct clarity, allowing you to appreciate the intricate vocal arrangements. Instrument placement is generally accurate, with instruments and vocals positioned logically within the soundstage, contributing to a cohesive and realistic presentation. This is evident in Miles Davis's "So What," where the interplay between the trumpet, saxophone, and piano is rendered with precise placement, creating a sense of natural interaction between the musicians.

Timbre:

The Elua's timbre is generally natural and realistic, with instruments and vocals sounding true to their intended character. There's no significant coloration or artificiality that detracts from the authenticity of the sound, like a clear window that allows you to see the world as it truly is. This is particularly evident in Yo-Yo Ma's performance of Bach's Cello Suite No. 1, where the cello's rich and resonant tone is reproduced with fidelity, capturing the instrument's natural timbre.

While the Elua doesn't quite reach the level of realism achieved by top-tier IEMs, it does a good job of conveying the essence of instruments and vocals. You can discern the subtle nuances of different instruments and the unique characteristics of individual voices, like a skilled impressionist capturing the essence of their subject with a few deft strokes. This is beautifully illustrated in Eva Cassidy's rendition of "Over the Rainbow," where her voice is imbued with a sense of emotion and realism that draws you into the performance.

Detail Retrieval:

The Elua is surprisingly adept at retrieving micro-details in the music. Subtle nuances in recordings, such as the texture of a bow on a violin string or the breath intake of a vocalist, are often audible, like a detective uncovering hidden clues at a crime scene. This is evident in Steely Dan's "Aja," where the intricate percussion work and subtle background vocals are revealed with impressive clarity.

The Elua also captures the nuances of musical performances, conveying the emotion and intent behind the music. You can hear the subtle variations in a singer's vibrato or the delicate touch of a pianist's fingers on the keys, like an empathetic friend understanding the unspoken language of the heart. This is beautifully showcased in Nina Simone's "Feeling Good," where the raw emotion in her voice and the subtle inflections in her phrasing are captured with remarkable detail.

Conclusion:

The 7Hz x HBB Elua IEMs offer a compelling combination of sound quality, comfort, and value. They deliver a pleasingly warm sound signature with a focus on mid-bass punch and overall clarity. While not perfect, the Elua's strengths make it a strong contender in the budget IEM market.

The Elua's ability to resolve detail and handle complex musical passages is commendable, especially given its price. Its spacious soundstage adds a welcome sense of immersion, drawing the listener into the music. Furthermore, its comfortable fit and easy driveability make it a versatile option for various listening scenarios.

While the sub-bass extension could be deeper and the upper treble more extended, these are reasonable trade-offs considering the Elua's affordability. The build quality, while generally decent, could benefit from some refinements in terms of seam visibility and cable durability.

Overall, the 7Hz x HBB Elua is a solid choice for those seeking a well-rounded and enjoyable listening experience without breaking the bank.

Preface:

I borrowed this unit from dear friend @gadgetgod to audition. Many thanks to him!

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Clavelon or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• iBasso DC07 Pro
• iBasso D16 Taipan
• iBasso DX320
• FiiO M17
• RME ADI-2 Pro FS R
• Gungnir + XI Audio Broadway S
• Hugo 2 + 2go
• Quloos QA390

Introduction:

Clavelon is a relatively new audio brand specializing in IEMs. It made its debut with the Clavelon Delta, an IEM designed to deliver high-quality audio at an affordable price. Although I couldn't find the exact origin of Clavelon or anymore details about them online, it appears to cater to a global audience with products that emphasize both performance and accessibility.

Specifications:

Driver: Custom High Magnetic Titanium Dynamic Driver
Sensitivity: 119dB @1kHz
Frequency Range: 10Hz-28KHz
Impedance: 18Ω ±15%
Cable: 1.25M / Premium Hybrid Cable with German Imported OFC Copper + Silver-Plated Copper
Connector: 0.78mm 2Pin

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 03 pairs of silicone tips (S/M/L)

Unboxing Experience:​

The unboxing experience of the Clavelon Delta is rather minimal and focuses on delivering a straightforward experience.
A lot of attention was put towards designing the outer packaging, which show cases the IEM design. I however feel that it's rather busy looking with a lot of illustrations. Upon lifting the outer sleeve, you’re greeted by the IEMs themselves, securely nestled within a foam cutout that ensures their protection during transit. The metallic, futuristic aesthetic of the IEMs immediately catches the eye, exuding a sense of craftsmanship.



Beneath the IEMs, the accessories are neatly arranged. While the included items are somewhat minimalistic, they cater to essential user needs. You’ll find a decent quality cable, a selection of silicone ear tips stored inside a plastic case. I would've appreciated if they included an IEM carry case or atleast a pouch at this price point. The entire presentation aligns with Clavelon's philosophy of offering high-quality audio without unnecessary extravagance.

Design and Build:​

The IEMs are crafted with a unique design and high-quality materials that make them stand out in the market. Their shells are precision-machined from aerospace-grade aluminum alloy, which ensures durability and a premium feel. The design takes on a futuristic aesthetic with triangular geometric patterns, lending them a sleek, cyberpunk-inspired look. This enhances their visual appeal.

















The included stock cable is a premium hybrid design, combining German-imported OFC copper and silver-plated copper. The cable also features a reinforced design to ensure durability and a tangle-resistant texture, making it both functional and reliable.

Wearing Comfort:​

Wearing the Delta has been a mixed experience for me. While the lightweight aluminum shells and angled nozzles initially felt promising, the unique geometric design posed some challenges. Due to my smaller ear shape, I found it difficult to get the IEMs to rest naturally on the concha. The triangular edges of the shells often pressed into my inner ear lobe, which became noticeably uncomfortable during longer listening sessions.

Switching to eartips with longer nozzles helped a bit, but the shape of the IEMs remained a limiting factor. If your ears are on the smaller side, this could be something to keep in mind, as the comfort may vary depending on individual anatomy. For those with average or larger ears, the fit might feel more seamless and less finicky.

Sound Analysis:​

Tonality:

The Clavelon Delta embraces a balanced sound signature that leans towards neutrality with a hint of warmth. This translates to a presentation that is neither overly analytical nor excessively colored, making it suitable for a wide range of musical genres. Think of it as a perfectly brewed cup of Earl Grey tea – refined, subtly nuanced, and thoroughly enjoyable. This balanced approach is immediately apparent when listening to something like Fleetwood Mac's "Landslide." Stevie Nicks' vocals are presented with a natural warmth and intimacy, while the acoustic guitar maintains a crisp clarity, showcasing the Delta's ability to render both vocals and instruments with fidelity.

Sub-Bass:

The Delta's sub-bass performance is characterized by a satisfying depth and rumble that doesn't overpower the rest of the frequency spectrum. While not reaching the subterranean depths of basshead-oriented IEMs, it provides a solid foundation for genres like electronic and hip-hop. In Billie Eilish's "Bad Guy," for instance, the deep synth bass notes are rendered with a palpable presence, adding weight and texture to the track's ominous atmosphere. However, venturing into the realm of orchestral scores, such as Hans Zimmer's "Why So Serious?" from The Dark Knight soundtrack, reveals that the Delta's sub-bass, while present, lacks the visceral impact that some might crave for a truly cinematic experience.

Mid-Bass:

The mid-bass region is where the Delta truly shines. It delivers a punchy and textured impact that injects life into percussive instruments and rhythmic grooves. This is readily apparent in "Seven Nation Army" by The White Stripes, where the iconic bassline is rendered with a satisfying thump and a well-defined texture, making it impossible to resist tapping your feet. Similarly, in Daft Punk's "Around the World," the Delta captures the infectious groove with precision and energy, showcasing its ability to handle electronic music with finesse. The kick drums hit with a satisfying punch, and the bassline maintains a tight and controlled presence throughout.

Lower Midrange:

The lower midrange is characterized by a warm and inviting presence that lends a natural richness to male vocals and instruments like cellos and baritone saxophones. This warmth is beautifully showcased in Leonard Cohen's "Hallelujah," where his baritone vocals are reproduced with a captivating intimacy, conveying the emotional weight of the song with remarkable clarity. The resonant cello in Bach's Cello Suite No. 1 is another prime example, rendered with a full-bodied tone that is both soothing and emotive.

Upper Midrange:

The upper midrange is where the Delta's clarity and detail retrieval come to the forefront. Female vocals and instruments like violins and trumpets are presented with a crystalline clarity that allows nuances to shine through. Adele's soaring vocals in "Someone Like You" are a testament to this, reproduced with a breathtaking level of detail, capturing the subtle inflections in her voice with remarkable accuracy. The intricate violin passages in Vivaldi's "The Four Seasons" are another highlight, rendered with a delicate precision that highlights the Delta's ability to handle complex musical arrangements.

Treble:

The Delta's treble presentation is a delicate balancing act, offering a detailed and airy presentation without veering into harshness or sibilance. The shimmering cymbal crashes in "Take Five" by Dave Brubeck are reproduced with a natural decay and a pleasing sparkle, adding a touch of airiness to the track. However, in tracks with a strong emphasis on high frequencies, such as some classical recordings, the Delta's treble can occasionally sound slightly subdued, lacking the last ounce of brilliance that some audiophiles might desire.

Soundstage:

The Clavelon Delta crafts a soundstage that is surprisingly spacious for its price point. While not as expansive as some open-back headphones, it offers a respectable width and depth that creates a sense of immersion. Imagine yourself seated in a cozy jazz club, with the musicians spread out before you, each instrument occupying its own distinct space. This is particularly noticeable in recordings like Miles Davis' "So What," where the trumpet and saxophone solos seem to emanate from distinct locations within the soundscape.



Layering and Separation:

The Delta excels at separating individual instruments and vocals in complex musical passages. This allows you to discern the intricate interplay between different musical elements, adding a layer of depth and clarity to your listening experience. This is masterfully demonstrated in "Bohemian Rhapsody" by Queen, where the Delta effortlessly navigates the track's dynamic shifts and intricate harmonies, allowing each vocal layer and instrumental line to shine through with remarkable clarity.

Timbre:

Instruments and vocals are reproduced with a natural and realistic timbre that avoids any artificial coloration. This contributes to a listening experience that is both engaging and authentic. It's like listening to a live performance, with each instrument retaining its unique sonic character. This natural timbre is evident in recordings of acoustic instruments, such as John Mayer's "Neon" where the acoustic guitar resonates with a lifelike quality.

Detail Retrieval:

The Delta's detail retrieval capabilities are commendable for its price point. It unveils subtle nuances and micro-details in the music that might go unnoticed with lesser IEMs. In "Clair de Lune" by Debussy, for instance, the Delta reveals the delicate interplay between the piano's notes, capturing the subtle nuances of the performance with impressive accuracy.

Comparisons:

• Aful Explorer: The Delta offers a more refined and balanced sound signature compared to the Aful Explorer's warm presentation. While the Explorer might excel in genres like hip-hop and EDM, the Delta's versatility makes it a more suitable all-rounder.
• Aful MagicOne: While both IEMs offer excellent value, the Delta edges out the MagicOne with its superior detail retrieval and slightly wider soundstage. This becomes evident when listening to orchestral pieces, where the Delta's ability to resolve individual instruments within a complex arrangement gives it a distinct advantage.
• Oriveti OD200: The OD200 boasts a warmer and more laid-back sound compared to the Delta's slightly brighter and more energetic presentation. This difference in tonality makes the OD200 a better choice for those who prefer a more relaxed listening experience, while the Delta caters to those seeking a bit more sparkle and excitement.
• Kefine Klanar: The Klanar offers a more analytical and detailed sound, while the Delta prioritizes a smoother and more musical presentation. This means the Klanar might appeal to those who prioritize critical listening and dissecting every nuance, while the Delta focuses on a more engaging and emotionally resonant experience.
• Simgot EA500LM: The EA500LM has a more V-shaped sound signature with emphasized bass and treble, while the Delta maintains a more balanced approach. This makes the EA500LM a good choice for genres that benefit from extra bass impact and treble energy, while the Delta's balanced tuning makes it more versatile across a wider range of musical styles.

Conclusion:

The Clavelon Delta with their balanced sound signature, impressive technical capabilities, and comfortable fit, offer a compelling package. While not without their minor shortcomings, the Delta's strengths far outweigh its weaknesses, making it a true gem in the budget IEM category. If you're seeking a versatile and engaging listening experience without emptying your wallet, the Clavelon Delta deserves a place on your shortlist.

Preface:

You can purchase G1 at the following link (not an affiliate link):
https://www.linsoul.com/products/7hz-g1?_pos=2&_fid=3e69a7c5f&_ss=c

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, 7Hz or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC07 Pro
• iBasso D16 Taipan
• iBasso DX320
• RME ADI-2 Pro FS R
• Quloos QA390
• Chord Hugo 2 + 2go

Introduction:

7Hz, is already a known name in the audiophile world, hails from China. They've quickly gained a reputation for producing IEMs that offer exceptional value for money, often punching well above their weight class. Personally, I've been thoroughly impressed with their previous releases, especially the Zero, Zero 2, and Timeless – each offering a unique flavor of sonic excellence.

Now, 7Hz is back with the G1, a single dynamic driver IEM that promises to deliver a captivating listening experience at an incredibly accessible price point. Let's dive into the specifics and see if it lives up to the hype.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated) / You also have the option to purchase a cable with Mic.
• 04 pairs of silicone tips (S/2 X M/L)
• Silicone carry case

Specifications:

Impedance : 18Ω
Sound Pressure Level : 107dB/V @ 1kHz
Frequency Range : 10-20,000Hz
THD (Total Harmonic Distortion) : < 0.5% @ 1kHz
Driver Type : 10mm dual-magnetic, dual-cavity dynamic driver

Unboxing Experience:​

The unboxing experience is simple but satisfying. The G1s arrive in a compact box containing the IEMs themselves, a selection of silicone ear tips, a 0.78mm 2-pin
cable and a round silicone carry case. While there are no extravagant extras, the presentation is clean and efficient, reflecting the G1's focus on delivering core value.

I love the fact that 7Hz included a carry case at this price. While the silicone case is not going to protect the IEMs from any impact, it does protect them frrom other things in your bag.

Design and Build:​

The IEMs themselves sport a sleek, understated design. The black metal shells (I'm assuming aluminium) are ergonomically shaped and feel comfortable in the ear. They look and feel like small pebbles to be honest. The included cable is decent that minimizes tangling and feels durable enough for everyday use. While not as luxurious as some high-end cables, it's perfectly functional and complements the G1's aesthetic.

Wearing Comfort:​

The G1s are designed for long listening sessions. The lightweight shells and ergonomic shape ensure a comfortable and secure fit. I was able to wear them for hours on end without any discomfort. A point to note is that that the nozzle length was on the shorter side due to which I had to use tips with longer nozzles. The angle of the nozzle however was well-judged, allowing for a good seal and effective passive noise isolation.

Sound Analysis:​

Tonality:

Imagine a warm, inviting living room bathed in the soft glow of a fireplace. That's the kind of warmth the G1s bring to your music. It's a gentle, comforting presence that enhances the listening experience without adding any artificial coloration.

Sub Bass:

The sub-bass plunges into the depths of the music, providing a solid foundation for tracks with a powerful low-end presence. In "Why So Serious?" from the Dark Knight soundtrack, the ominous rumble sends shivers down your spine, while the deep, resonant bassline in "Royals" by Lorde adds a visceral dimension to the track. However, the decay is a touch too quick, preventing the sub-bass from fully blooming and lingering in the air.

Mid-bass:

This is where the G1 truly comes alive. The mid-bass is a masterclass in balance, delivering impact and texture in equal measure. In "Seven Nation Army" by The White Stripes, the iconic bassline hits with a satisfying thump, while the intricate bass work in "Feel Good Inc." by Gorillaz grooves with infectious energy. Each note is defined and articulate, contributing to a rhythmically engaging experience.

Lower Midrange:

Male vocals are enveloped in a warm embrace, adding a sense of intimacy and richness. Leonard Cohen's baritone in "Hallelujah" resonates with emotion and gravitas, while the smooth vocals of Frank Sinatra in "Fly Me to the Moon" are rendered with a velvety smoothness. Female vocals are equally well-served, with a touch of warmth that enhances their presence without sacrificing clarity. However, a slight dip in the lower midrange can sometimes make instruments like cellos and baritone saxophones feel slightly less present in the mix.

Upper Midrange:

This region sparkles with clarity and detail. Vocals, both male and female, are presented with exceptional precision, allowing you to hear every nuance and inflection. In "Hotel California" by the Eagles, the harmonies are beautifully layered, each voice distinct and clear. Instruments like violins and trumpets shine in this region, their timbres rendered with accuracy and vibrancy.

Lower Treble:

The lower treble is where the G1 adds a touch of sparkle and airiness to the music. It's not overly emphasized, but it's present enough to give cymbals a delicate shimmer and hi-hats a crisp attack. Listening to "Little Wing" by Jimi Hendrix, the guitar notes had a beautiful sheen without ever becoming harsh or sibilant. This was particularly noticeable when I paired the G1s with the iBasso DX320, which has a slightly brighter treble presentation.

Upper Treble:

The upper treble, however, is where the G1 shows some restraint. It rolls off gently, which helps to tame sibilance and prevent fatigue during long listening sessions. However, this can also result in a slight loss of air and brilliance in tracks with a lot of high-frequency energy. In "Dreams" by Fleetwood Mac, the shimmering cymbal crashes lacked some of their ethereal quality.

Soundstage:

Imagine yourself in a concert hall, surrounded by musicians. That's the kind of experience the G1s create. The soundstage extends beyond the confines of your head, with a sense of depth and height that adds to the immersion. In "Comfortably Numb" by Pink Floyd, the guitars seem to emanate from different points in space, enveloping you in a sonic tapestry.

Layering and Separation:

Even in the most complex musical passages, the G1s effortlessly separate individual instruments and vocals. In orchestral pieces like Beethoven's Symphony No. 5, the various sections of the orchestra are clearly delineated, allowing you to appreciate the interplay between the different instruments.

Timbre:

Instruments and voices have a natural and realistic quality. The acoustic guitar in "Tears in Heaven" by Eric Clapton resonates with a woody warmth, while the vocals in "Hallelujah" by Jeff Buckley are infused with raw emotion. The G1s capture the essence of each instrument and voice, bringing the music to life.

Detail Retrieval:

While not as resolving as high-end IEMs, the G1s punch well above their weight in terms of detail retrieval. They unveil subtle nuances in the music that might otherwise go unnoticed. In "Clair de Lune" by Debussy, the delicate intricacies of the piano performance are rendered with impressive clarity, allowing you to appreciate the subtle interplay of notes.

Comparisons:​

7Hz Salnotes Zero 2 vs 7Hz G1: The Zero 2, another excellent offering from 7Hz, has a brighter sound signature with a more pronounced treble presence. The G1, in comparison, is warmer and smoother, with a more relaxed treble presentation. Both IEMs offer excellent detail retrieval and a spacious soundstage, but the G1 has a slight edge in terms of bass impact and overall coherence.

Kinera Celest Wyvern Black vs 7Hz G1: The Wyvern Black has a more balanced sound signature compared to G1 with a slight emphasis on the midrange. It excels at vocal clarity and instrumental separation. The G1, while also balanced, has a warmer tilt and a more impactful bass response. The Wyvern Black might be a better choice for those who prioritize vocal-centric music, while the G1 offers a more engaging and dynamic listening experience.

Kiwi Ears Cadenza vs 7Hz G1: The Cadenza is known for its energetic and vibrant sound signature, with a V-shaped frequency response that emphasizes the bass and treble. The G1, in comparison, is more balanced and refined, with a smoother treble and a more controlled bass response. The Cadenza might appeal to those who prefer a more exciting and impactful sound, while the G1 offers a more nuanced and mature presentation.

Tripowin x 0DiBi Vivace vs 7Hz G1: The Vivace has a warmer and smoother sound signature than the G1, with a thicker note weight and a more relaxed treble. The G1, in comparison, has a slightly brighter tilt and a more agile presentation. Both IEMs offer excellent value for money, but the G1 has a slight edge in terms of technical performance and overall refinement.

Conclusion:

The 7Hz G1 is a testament to the fact that audiophile-grade sound doesn't have to break the bank. They deliver a captivating listening experience that's rich in detail, dynamics, and musicality. While minor shortcomings exist, the G1's strengths far outweigh its weaknesses, making it a true gem in the budget IEM category. Whether you're a seasoned audiophile or just starting your journey into the world of high-fidelity sound, the 7Hz G1 is a compelling option that deserves your attention. It's a reminder that sonic excellence can be found in the most unexpected places, and that sometimes, the most satisfying discoveries are the ones that defy expectations.

Preface:

I borrowed this unit from dear friend @gadgetgod to audition. Many thanks to him!

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by I/O or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• iBasso DC07 Pro
• iBasso D16 Taipan
• iBasso DX320
• FiiO M17
• RME ADI-2 Pro FS R
• Gungnir + XI Audio Broadway S

Introduction:

Timsok is a relatively new but ambitious audio brand that has quickly gained recognition for its commitment to high-fidelity sound and meticulous engineering. Hailing from Shenzhen, China, a city known for its thriving electronics industry, Timsok benefits from a rich ecosystem of experienced engineers and manufacturing expertise.

The company was founded by a team of industry veterans with over 20 years of experience in the acoustic field. Interestingly, before venturing out with their own brand, they were involved in providing driver and tuning solutions to many well-known audio brands. This deep-rooted experience in the industry is evident in their product design and sonic philosophy.

Timsok first made waves with the release of the TS-1024, a full-size planar magnetic headphone that garnered praise for its impressive technical performance and refined tuning. This headphone showcased their ambition to compete with established players in the high-end audio market.

Building on the success of the TS-1024, Timsok ventured into the IEM market with the TS-316, a single dynamic driver IEM.

Specifications:

Driver: 10.2mm Dynamic Driver
Sensitivity: 102.5db 1KHz
Frequency Range: 20Hz~20KHz
Impedance: 32Ω
Cable: 1.25M / OCC
Connector: 0.78mm 2Pin

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (4.4mm terminated)
• 4.4mm female to 3.5mm male adaptor
• 03 pairs of silicone tips (S/M/L)
• Leatherette hardshell IEM case
• Velvet IEM protective pouches

Unboxing Experience:​

The Timsok TS-316 arrives in a sleek, understated package that exudes a sense of sophistication. Upon opening the box, you're greeted by the black hardshell leatherette case on top which has the IEMs stored in two individual velvet protective pouches which I realised are far more important than I imagined (more on this later). Beneath the case, you'll find 3 small boxers labelled cable, tips and accessories. You get 03 pairs of textured silicone ear tips in S/M/L sizes, ensuring a comfortable and secure fit for a wide range of ear shapes. Also included is a beautifully crafted 4.4mm balanced cable with a fabric sheath, adding a touch of elegance to the overall presentation. A 4.4mm to 3.5mm adapter is thoughtfully provided for those who prefer a single-ended connection. The unboxing experience is a testament to Timsok's attention to detail and commitment to providing a premium user experience.

Design and Build:​

The TS-316 boasts a stunning design, with its polished stainless steel shells catching the light beautifully. The ergonomic shape of the IEMs ensures a comfortable and secure fit, even during extended listening sessions. However, it's worth noting that the polished steel is prone to minor scratches and blemishes, so a little extra care is needed to keep them looking pristine. The included cable, while aesthetically pleasing with its white fabric sheath, may prove challenging to keep clean in the long run.

Wearing Comfort:​

The TS-316 is exceptionally comfortable to wear, even for extended periods. The ergonomic design and lightweight construction ensure a fatigue-free listening experience. The IEMs sit snugly in the ear, providing a secure seal that effectively isolates external noise. I found myself wearing them for hours on end without any discomfort, making them ideal for long listening sessions or travel.

Sound Analysis:​

Tonality:

The TS-316 masterfully balances neutrality and warmth, achieved through a subtle emphasis in the lower midrange. This touch of warmth, reminiscent of the golden hue cast by a setting sun, imbues the music with a rich, inviting quality, particularly noticeable with acoustic instruments and vocals.

In "Hallelujah" by Leonard Cohen, the TS-316 beautifully renders the warmth and intimacy of his voice, capturing the nuances of his performance with remarkable fidelity. However, this same warmth, while generally pleasing, can occasionally be a touch too prominent with certain recordings. In "Hotel California" by the Eagles, the lower midrange emphasis can slightly overshadow the higher frequencies, making the guitars sound a tad less crisp than I'd prefer.

Sub Bass:

The sub-bass performance of the TS-316 is perfectly balanced, plunging into the depths of the low-end with authority and control. In "Radioactive" by Imagine Dragons, the deep, synthesized bass notes are reproduced with impressive depth and texture. You not only feel the rumble, but you also hear the subtle nuances of the decay, adding a layer of realism to the electronic soundscape. While impressive, it can occasionally lack the ultimate slam and impact found in some multi-driver IEMs. In "Angel" by Massive Attack, the deep bass notes, while present and well-defined, could benefit from a touch more weight and physicality.

Mid Bass:

The mid-bass is where the TS-316 truly shines, striking a perfect balance between impact and control. "Lose Yourself to Dance" by Daft Punk is a masterclass in mid-bass performance. The TS-316 delivers the driving bass line with a tight, controlled punch that makes it impossible to resist moving to the groove. The texture and detail in the mid-bass are also noteworthy, allowing you to appreciate the nuances of the electronic bassline. However, it can occasionally sound slightly overemphasized with certain recordings, particularly those with a strong bass presence to begin with. In "Billie Jean" by Michael Jackson, the already prominent bass line can sound a touch too forward, slightly overshadowing the vocals at times.

Lower Midrange:

The lower midrange, slightly forward, lends warmth and presence to male vocals and instruments like cellos and baritone saxophones. In "The Sound of Silence" by Disturbed, the TS-316 captures the raw power and emotion in David Draiman's voice with stunning clarity. The slight emphasis in the lower midrange adds weight and presence to his vocals, making them truly captivating. However, this forwardness can occasionally make male vocals sound a bit too thick or chesty, particularly in recordings that are already warm in this region.

Upper Midrange:

The upper midrange is a showcase of clarity and detail, allowing female vocals and instruments like violins and trumpets to shine. In "Hide and Seek" by Imogen Heap, the TS-316 beautifully renders the ethereal quality of her voice, capturing every nuance and inflection with pristine clarity. The upper midrange is free from any harshness or sibilance, allowing her vocals to soar effortlessly. While generally excellent, it can occasionally lack a touch of air and sparkle, particularly when compared to some brighter IEMs. In "Baba O'Riley" by The Who, the high notes of the synthesizer could benefit from a bit more brilliance and shimmer.

Lower Treble:

The lower treble is well-defined, adding sparkle and presence to percussion instruments and electric guitars. In "Stairway to Heaven" by Led Zeppelin, the TS-316 captures the delicate shimmer of the cymbals with remarkable clarity. The lower treble adds a sense of airiness and sparkle to the music without ever becoming harsh or fatiguing. However, it can occasionally sound a bit subdued, particularly in recordings that are already lacking in high-frequency energy. In "Little Wing" by Jimi Hendrix, the electric guitar could benefit from a touch more bite and aggression in the lower treble.

Upper Treble:

The upper treble extends smoothly, providing air and spaciousness without becoming harsh or sibilant. In "Clair de Lune" by Debussy, the TS-316 captures the delicate, ethereal quality of the piano notes with remarkable finesse. The upper treble extends gracefully, adding a sense of air and spaciousness to the music without any hint of harshness. While the upper treble extension is good, it can occasionally lack the ultimate air and sparkle found in some top-tier IEMs. In "Jupiter" from Holst's The Planets, the highest notes of the orchestra could benefit from a touch more extension and brilliance.

Soundstage and Imaging:

The soundstage of the TS-316 is surprisingly spacious for an IEM, creating a sense of depth and immersion that draws you into the music. In "Stimela" by Hugh Masekela, the TS-316 creates a wide and deep soundstage that accurately reproduces the placement of each instrument. You can clearly hear the trumpet solos emanating from the center, while the percussion instruments are positioned further back, creating a sense of depth and realism. While impressive for an IEM, it doesn't quite match the expansive soundstage of some slightly more expensive counterparts and I'm only mentioning this because I know a lot of folks care a lot about this aspect. In "Bohemian Rhapsody" by Queen, the various vocal and instrumental layers, while well-separated, could benefit from a slightly wider and more holographic presentation.

Layering and Separation:

The TS-316 excels at separating individual instruments and vocals, even in complex musical passages. In "Paradise By the Dashboard Light" by Meat Loaf, the TS-316 effortlessly separates the intricate vocal harmonies, instrumental layers, and dynamic shifts in the music. Each element is clearly defined and positioned within the soundstage, making it easy to follow the complex arrangement. However, while the layering and separation are generally excellent, they can occasionally be challenged by extremely dense and complex orchestral pieces. In some passages of "The Rite of Spring" by Stravinsky, the sheer number of instruments can occasionally push the limits of the TS-316's ability to maintain perfect separation.

Timbre:

The TS-316 reproduces instruments and vocals with a natural and realistic timbre. In "The Boxer" by Simon & Garfunkel, the TS-316 captures the raw emotion in their voices with a poignant realism that is both moving and captivating. The natural timbre of the IEM allows the nuances of their performance to shine through, creating a truly intimate listening experience. While the timbre is generally natural, it can occasionally lack a touch of "sparkle" or "magic" that some high-end IEMs possess. In "Teardrop" by Massive Attack, while the overall presentation is excellent, the string arrangements could benefit from a touch more richness and vibrancy.

Detail Retrieval:

The TS-316 is a detail retrieval master, uncovering subtle nuances and micro-details in the music. In "Hotel California" by the Eagles, the TS-316 reveals the subtle finger movements on the guitar strings and the delicate breath intakes of the singers. This level of detail retrieval adds a new dimension to familiar tracks, making them sound fresh and exciting. While the detail retrieval is impressive, it can occasionally be slightly overshadowed by the IEM's inherent warmth, which can sometimes mask the subtlest of details in the higher frequencies.

Comparisons:​

Moondrop Variations vs Timsok TS-316:

The Moondrop Variations is known for its vibrant and engaging sound signature, with a V-shaped frequency response that emphasizes the bass and treble. In comparison, the TS-316 offers a more balanced and refined presentation. The Variations has a more impactful bass response, while the TS-316 excels in detail retrieval and midrange clarity. The Variations' soundstage is wider, while the TS-316's is deeper and more intimate. Ultimately, the choice between these two IEMs comes down to personal preference. If you prefer a more energetic and fun sound, the Variations might be your pick. However, if you value balance, detail, and a natural timbre, the TS-316 is the clear winner.

Dunu SA6 MK2 vs Timsok TS-316:

The Dunu SA6 MK2 is a highly regarded IEM known for its balanced sound signature and impressive technical performance. Both the SA6 MK2 and the TS-316 offer a similar level of detail retrieval and clarity. However, the SA6 MK2 has a slightly brighter sound signature with a more pronounced treble presence. The TS-316, on the other hand, has a warmer and smoother presentation with a more emphasized mid-bass. The soundstage of the SA6 MK2 is slightly wider and more airy, while the TS-316's is deeper and more intimate. The choice between these two IEMs will depend on your preference for tonality and soundstage presentation.

Sennheiser IE600 vs Timsok TS-316:

The Sennheiser IE600 is a popular choice for those seeking a neutral and analytical sound signature. Compared to the TS-316, the IE600 has a more clinical presentation with a focus on accuracy and detail retrieval. The TS-316, while also detailed, has a warmer and more musical sound signature. The IE600 has a slightly wider soundstage, while the TS-316's is deeper and more three-dimensional. If you prioritize a neutral and analytical sound, the IE600 is a strong contender. However, if you prefer a more engaging and musical presentation, the TS-316 is the better choice.

I/O Volare vs Timsok TS-316:

The I/O Volare is a relatively new IEM that has garnered praise for its impressive technical performance and I consider it as a direct upgrade to Variations. Both the Volare and the TS-316 offer a balanced sound signature with excellent detail retrieval. However, the Volare has a slightly brighter and more engaging presentation, while the TS-316 is warmer and more musical. The Volare has a wider soundstage, while the TS-316's is deeper and more intimate. The choice between these two IEMs will depend on your preference for tonality and soundstage presentation.

Conclusion:

The Timsok TS-316 is a sonic marvel, offering a level of performance that defies its price point. Its balanced tonality, nuanced bass, detailed midrange, refined treble, spacious soundstage, precise imaging, exceptional layering and separation, natural timbre, and extraordinary detail retrieval combine to create a truly captivating listening experience. While not without its minor weaknesses, the TS-316's strengths far outweigh its limitations.

Preface:

The Ares S II were sent to me by @gadgetgod

Do note that I also received all 03 Signature Series II cables from @Ace Bee separately which I've separately reviewed here:

https://www.head-fi.org/showcase/effect-audio-signature-series-2.27660/review/36037/

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Effect Audio or any other entity for this review. My assessment is based solely on my personal experience with the product.

My thoughts about cable rolling:

Now, I know the whole 'cables make a difference' thing can be a bit controversial. Honestly, I used to be skeptical myself. I mean, it's just a wire, right? But after trying out a few different cables with my own IEMs, I've come to realize that there can be noticeable changes.

It's not always night and day, and it definitely depends on the specific cable and the IEMs you're using. But sometimes, a cable can bring out qualities in your music that you didn't even know were there. Maybe the bass becomes tighter, the vocals smoother, or the soundstage wider. It's subtle, but it's there.

Technically speaking, it makes sense. Cables do have electrical properties like resistance and capacitance that can affect the audio signal. And the quality of the connectors and shielding can play a role too.

But hey, I get it if you're not totally convinced. It's one of those things you kind of have to experience for yourself. If you're curious, I'd encourage you to try out a few different cables and see what you think. You might be surprised!

Sources used:

• iBasso D16
• RME ADI 2 Pro FS-R
• FiiO M17

IEM used:

• Shanling MG800

Why MG800?

• Balanced Sound Signature: The MG800 starts with a relatively neutral and balanced sound. This provides a clean slate, allowing the nuances of different cables to shine through more clearly. If I used an IEM with a very strong bass or treble emphasis, for example, those inherent characteristics might overshadow the subtler changes a cable introduces.
• Detailed and Revealing: The MG800 is quite detailed and resolving. This allows me to pick up on the subtle ways a cable might affect things like soundstage, imaging, and micro-details. If the IEM itself lacked detail, it would be harder to hear the improvements a high-quality cable can bring.
• Good Technical Performance:The MG800 has a decent soundstage and imaging capabilities, This means I can accurately assess how a cable might impact the spatial presentation of the music, something that's harder to do with IEMs that have a very narrow or congested soundstage.

Test Tracks & Methodology

• Hide and Seek by Imogen Heap: This track is a fantastic choice for evaluating soundstage and imaging due to its intricate vocal layering and use of spatial effects. We'll pay close attention to how the cables affect the placement and separation of the vocal layers and the overall sense of space.
• Keith Don't Go by Nils Lofgren: This acoustic guitar piece will be perfect for assessing the impact on timbre and dynamics. We'll listen for how the cables render the nuances of the guitar's tone and how they handle the dynamic shifts between soft fingerpicking and powerful strumming.
• The Night They Made Love by Marvin Gaye: This soulful ballad will help us analyze the cables' effect on vocal delivery and emotional expression. We'll focus on how the cables portray the nuances of Gaye's voice and the overall intimacy of the song.
• The Chain by Fleetwood Mac: This classic rock track will be useful for evaluating the impact on bass response and overall energy. We'll listen for how the cables handle the iconic bassline and how they affect the dynamics and drive of the song.

MG800's Stock Cable:

• Overall: The stock cable provides a solid foundation for the MG800, delivering a balanced and detailed sound.
  • In "Hide and Seek," the soundstage is well-defined, with Imogen Heap's layered vocals clearly separated and positioned accurately. The spatial effects are rendered with a good sense of depth and width.
  • With "Keith Don't Go," the guitar timbre is natural and well-balanced, with a good amount of detail and texture. The dynamics of the performance are captured effectively, from the delicate fingerpicking to the more powerful strumming sections.
  • In "The Night They Made Love," Marvin Gaye's vocals are smooth and expressive, with a good sense of intimacy. The instrumentation is well-balanced, allowing the vocals to take center stage.
  • "The Chain" has a punchy and well-defined bassline that drives the song forward. The vocals are clear and well-separated from the instruments, and the overall energy of the track is well-maintained.

Effect Audio Ares S II:

• In "Hide and Seek," the soundstage feels slightly wider and deeper, with a greater sense of air between the instruments and vocals. The vocals have a richer, more intimate quality, and the spatial effects are rendered with a greater sense of realism.
• With "Keith Don't Go," the guitar takes on a warmer, more full-bodied tone. The notes have a slightly longer decay, adding to the sense of intimacy and emotion. The dynamic shifts are handled with greater finesse, making the performance even more captivating.
• In "The Night They Made Love," the Ares S II truly shines. Gaye's vocals become more captivating, with a greater sense of depth and emotion. The instruments are rendered with a warmer, more organic quality, creating a more intimate and enveloping atmosphere.
• "The Chain" benefits from a slightly more impactful bass response, adding weight and texture to the iconic bassline. The vocals are smoother and more forward in the mix, and the overall presentation is more engaging and musical.

Key Takeaways:

• Bass: The Ares S II adds a touch of warmth and fullness to the bass, making it slightly more impactful without sacrificing control or definition. This is particularly noticeable in tracks like "The Chain," where the bassline has a more prominent presence.
• Midrange: Vocals and instruments in the midrange benefit from a smoother, more liquid presentation with the Ares S II. This adds to the emotional connection with the music, as heard in "The Night They Made Love" and "Keith Don't Go."
• Treble: The treble is slightly smoother and more refined with the Ares S II, reducing any hint of harshness or sibilance that might be present with the stock cable. This contributes to a more relaxed and fatigue-free listening experience.
• Soundstage: The Ares S II seems to expand the soundstage slightly, both in width and depth. This adds to the sense of immersion and realism in tracks like "Hide and Seek."
• Overall Presentation: The Ares S II leans towards a more musical and engaging presentation, emphasizing warmth, smoothness, and emotional impact. The stock cable, while still excellent, is slightly more neutral and analytical in comparison.

Overall Conclusion:

Ares S II:

• Strengths:
  • Adds warmth and richness to the overall sound.
  • Enhances bass impact without muddying the details.
  • Creates a smoother, more forgiving treble presentation.
  • Improves vocal presence and intimacy.
• Weaknesses:
  • Can sound overly warm with already warm-sounding IEMs.
  • May slightly reduce detail and transparency in some setups.
• Best for:
  • Bright or analytical IEMs that could benefit from added warmth and smoothness.
  • IEMs with a thin or recessed midrange that need a boost in vocal presence.

Preface:

The cables were sent to me by @Ace Bee.

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Effect Audio or any other entity for this review. My assessment is based solely on my personal experience with the product.

My thoughts about cable rolling:

Now, I know the whole 'cables make a difference' thing can be a bit controversial. Honestly, I used to be skeptical myself. I mean, it's just a wire, right? But after trying out a few different cables with my own IEMs, I've come to realize that there can be noticeable changes.

It's not always night and day, and it definitely depends on the specific cable and the IEMs you're using. But sometimes, a cable can bring out qualities in your music that you didn't even know were there. Maybe the bass becomes tighter, the vocals smoother, or the soundstage wider. It's subtle, but it's there.

Technically speaking, it makes sense. Cables do have electrical properties like resistance and capacitance that can affect the audio signal. And the quality of the connectors and shielding can play a role too.

But hey, I get it if you're not totally convinced. It's one of those things you kind of have to experience for yourself. If you're curious, I'd encourage you to try out a few different cables and see what you think. You might be surprised!

Sources used:

• iBasso D16
• RME ADI 2 Pro FS-R
• FiiO M17

IEM used:

• Shanling MG800

Why MG800?

• Balanced Sound Signature: The MG800 starts with a relatively neutral and balanced sound. This provides a clean slate, allowing the nuances of different cables to shine through more clearly. If I used an IEM with a very strong bass or treble emphasis, for example, those inherent characteristics might overshadow the subtler changes a cable introduces.
• Detailed and Revealing: The MG800 is quite detailed and resolving. This allows me to pick up on the subtle ways a cable might affect things like soundstage, imaging, and micro-details. If the IEM itself lacked detail, it would be harder to hear the improvements a high-quality cable can bring.
• Good Technical Performance:The MG800 has a decent soundstage and imaging capabilities, This means I can accurately assess how a cable might impact the spatial presentation of the music, something that's harder to do with IEMs that have a very narrow or congested soundstage.

Test Tracks & Methodology

• Hide and Seek by Imogen Heap: This track is a fantastic choice for evaluating soundstage and imaging due to its intricate vocal layering and use of spatial effects. We'll pay close attention to how the cables affect the placement and separation of the vocal layers and the overall sense of space.
• Keith Don't Go by Nils Lofgren: This acoustic guitar piece will be perfect for assessing the impact on timbre and dynamics. We'll listen for how the cables render the nuances of the guitar's tone and how they handle the dynamic shifts between soft fingerpicking and powerful strumming.
• The Night They Made Love by Marvin Gaye: This soulful ballad will help us analyze the cables' effect on vocal delivery and emotional expression. We'll focus on how the cables portray the nuances of Gaye's voice and the overall intimacy of the song.
• The Chain by Fleetwood Mac: This classic rock track will be useful for evaluating the impact on bass response and overall energy. We'll listen for how the cables handle the iconic bassline and how they affect the dynamics and drive of the song.

MG800's Stock Cable:

• Overall: The stock cable provides a solid foundation for the MG800, delivering a balanced and detailed sound.
  • In "Hide and Seek," the soundstage is well-defined, with Imogen Heap's layered vocals clearly separated and positioned accurately. The spatial effects are rendered with a good sense of depth and width.
  • With "Keith Don't Go," the guitar timbre is natural and well-balanced, with a good amount of detail and texture. The dynamics of the performance are captured effectively, from the delicate fingerpicking to the more powerful strumming sections.
  • In "The Night They Made Love," Marvin Gaye's vocals are smooth and expressive, with a good sense of intimacy. The instrumentation is well-balanced, allowing the vocals to take center stage.
  • "The Chain" has a punchy and well-defined bassline that drives the song forward. The vocals are clear and well-separated from the instruments, and the overall energy of the track is well-maintained.

Effect Audio Ares S II:

• In "Hide and Seek," the soundstage feels slightly wider and deeper, with a greater sense of air between the instruments and vocals. The vocals have a richer, more intimate quality, and the spatial effects are rendered with a greater sense of realism.
• With "Keith Don't Go," the guitar takes on a warmer, more full-bodied tone. The notes have a slightly longer decay, adding to the sense of intimacy and emotion. The dynamic shifts are handled with greater finesse, making the performance even more captivating.
• In "The Night They Made Love," the Ares S II truly shines. Gaye's vocals become more captivating, with a greater sense of depth and emotion. The instruments are rendered with a warmer, more organic quality, creating a more intimate and enveloping atmosphere.
• "The Chain" benefits from a slightly more impactful bass response, adding weight and texture to the iconic bassline. The vocals are smoother and more forward in the mix, and the overall presentation is more engaging and musical.

Key Takeaways:

• Bass: The Ares S II adds a touch of warmth and fullness to the bass, making it slightly more impactful without sacrificing control or definition. This is particularly noticeable in tracks like "The Chain," where the bassline has a more prominent presence.
• Midrange: Vocals and instruments in the midrange benefit from a smoother, more liquid presentation with the Ares S II. This adds to the emotional connection with the music, as heard in "The Night They Made Love" and "Keith Don't Go."
• Treble: The treble is slightly smoother and more refined with the Ares S II, reducing any hint of harshness or sibilance that might be present with the stock cable. This contributes to a more relaxed and fatigue-free listening experience.
• Soundstage: The Ares S II seems to expand the soundstage slightly, both in width and depth. This adds to the sense of immersion and realism in tracks like "Hide and Seek."
• Overall Presentation: The Ares S II leans towards a more musical and engaging presentation, emphasizing warmth, smoothness, and emotional impact. The stock cable, while still excellent, is slightly more neutral and analytical in comparison.

Effect Audio Eros S II:

• "Hide and Seek" by Imogen Heap: This track immediately reveals the Eros S II's strengths. The soundstage opens up, not drastically, but noticeably. Imogen Heap's layered vocals have more breathing room, and the spatial effects in the song are rendered with a greater sense of depth and dimension. However, this expansion comes with a slight trade-off. Some of the pinpoint imaging precision of the stock cable seems to soften a touch. It's a subtle difference, and whether it's a positive or negative depends on your priorities.
• "Keith Don't Go" by Nils Lofgren: With this acoustic track, the Eros S II adds a touch of warmth and richness to the guitar's timbre. The notes have a slightly longer decay, which some might find adds to the emotional resonance of the performance. However, others might feel that the stock cable offers a slightly more accurate and neutral presentation of the guitar's natural tone. It's a matter of taste.
• "The Night They Made Love" by Marvin Gaye: This is where the Eros S II truly shines. Gaye's vocals take on a captivating quality, with a greater sense of intimacy and emotional depth. The midrange is smoother and more liquid, adding to the overall sense of warmth and musicality. However, this added warmth might be a bit too much for some, particularly those who prefer a leaner, more analytical presentation.
• "The Chain" by Fleetwood Mac: The Eros S II adds weight and texture to the iconic bassline in this track, giving it a more visceral impact. The overall presentation is more dynamic and engaging. However, this added emphasis on the bass might overshadow some of the finer details in the midrange and treble.

Key Takeaways:

• Bass: The Eros S II consistently adds warmth and fullness to the bass across all tracks. This can be a positive or negative depending on your preferences and the specific IEM you're using.
• Midrange: The Eros S II tends to smooth out the midrange, which can be beneficial for vocals and instruments that sound a bit harsh or edgy with the stock cable. However, this smoothing effect can also reduce some of the detail and transparency.
• Treble: The treble is generally smoother and more refined with the Eros S II, but this can sometimes come at the expense of some sparkle and air.
• Soundstage: The Eros S II often expands the soundstage, but this expansion can sometimes be accompanied by a slight reduction in imaging precision.
• Overall Presentation: The Eros S II leans towards a warmer, smoother, and more musical presentation. The stock cable tends to be more neutral and analytical.

Effect Audio Cadmus II:

• "Hide and Seek" by Imogen Heap: Right away, the Cadmus II reveals its analytical nature. The soundstage feels wider and more spacious compared to the stock cable, with excellent instrument separation. Each layer of Imogen Heap's vocals is distinct and precisely placed. However, this enhanced clarity might make the track feel a tad less intimate. The stock cable, with its slightly warmer presentation, might provide a more emotionally engaging experience for this particular song.
• "Keith Don't Go" by Nils Lofgren: This acoustic piece highlights the Cadmus II's ability to extract detail. The nuances of the guitar strings, the subtle finger movements, and the resonance of the guitar body are all rendered with impressive clarity. However, some might find that the Cadmus II leans towards a slightly drier presentation. The stock cable might offer a touch more warmth and "body" to the guitar's tone, which I prefer.
• "The Night They Made Love" by Marvin Gaye: With this soulful ballad, the Cadmus II presents Gaye's vocals with impressive clarity and detail. You can hear the subtle inflections in his voice and the emotion in his delivery. However, the Cadmus II might not provide the same level of warmth and intimacy as the stock cable. I found that the stock cable better captures the soulfulness and emotional depth of Gaye's performance.
• "The Chain" by Fleetwood Mac: The Cadmus II injects this track with energy and drive. The bassline is tight, controlled, and impactful, providing a solid foundation for the song. The individual instruments are well-defined, and the overall presentation is clear and dynamic. However, the Cadmus II might make the track feel a bit less "smooth" overall. The stock cable might offer a more relaxed and forgiving listen, particularly in the treble region.

Key Takeaways:

• Bass: The Cadmus II tightens and controls the bass, adding impact without sacrificing definition. This can be a significant improvement for those who find the stock cable's bass a bit loose or undefined.
• Midrange: The Cadmus II emphasizes clarity and detail in the midrange, which can be both a positive and a negative. While it enhances the analytical aspect of the listening experience, it might reduce some of the warmth and intimacy.
• Treble: The Cadmus II generally presents a clean and detailed treble, but it can sometimes come across as a bit dry or analytical.
• Soundstage: The Cadmus II often expands the soundstage, providing a greater sense of space and instrument separation.
• Overall Presentation: The Cadmus II leans towards a more analytical and detailed presentation, which can be excellent for critical listening or genres that benefit from a high level of clarity.

Overall Conclusion:

Ares S II:

• Strengths:
  • Adds warmth and richness to the overall sound.
  • Enhances bass impact without muddying the details.
  • Creates a smoother, more forgiving treble presentation.
  • Improves vocal presence and intimacy.
• Weaknesses:
  • Can sound overly warm with already warm-sounding IEMs.
  • May slightly reduce detail and transparency in some setups.
• Best for:
  • Bright or analytical IEMs that could benefit from added warmth and smoothness.
  • IEMs with a thin or recessed midrange that need a boost in vocal presence.

Eros S II:

• Strengths:
  • Provides a balanced enhancement with a touch of warmth and smoothness.
  • Improves detail and resolution without sacrificing musicality.
  • Expands the soundstage slightly, adding a sense of space.
• Weaknesses:
  • Changes can be subtle and might not be noticeable with all IEMs.
  • May not be the best choice for those seeking a drastic change in sound signature.
• Best for:
  • IEMs that already have a good balance but could benefit from some refinement and added musicality.
  • IEMs with a slightly harsh or sibilant treble that could use some smoothing.

Cadmus II:

• Strengths:
  • Enhances clarity and detail retrieval across the frequency spectrum.
  • Tightens and controls the bass, improving definition and impact.
  • Expands the soundstage, creating a more spacious presentation.
• Weaknesses:
  • Can sound dry or analytical with some IEMs, particularly those that are already lean.
  • May not be the best choice for those who prioritize warmth and musicality.
• Best for:
  • Warm or thick-sounding IEMs that lack clarity and definition.
  • IEMs with a rolled-off treble that could benefit from some added sparkle.

Preface:

I would like to thank EPZ for sending this unit as part of the review tour.

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by EPZ or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• Dita Navigator
• iBasso DC07 Pro
• L&P W2 Ultra
• D16 Taipan
• RME ADI-2 Pro FS R

Introduction:

Stepping into the world of budget audiophile IEMs can be a daunting task. Countless brands promise exceptional sound at wallet-friendly prices, but few truly deliver. Enter EPZ, a relatively new player making waves with their focus on innovative designs and accessible audio experiences. Today, we're taking a close look at their intriguing offering, the EPZ Q5.

Box contents:

• IEMs
• 3 pairs of eartips (S/M/L)
• 0.78mm 2-pin Cable (3.5mm terminated)
• Standard Carry Case

Design and Build:

Build Quality:

First impressions? These IEMs feel pretty darn solid for the price. The shells are made from some kind of 3D-printed resin, which gives them a smooth, almost porcelain-like finish. They're surprisingly lightweight, and the ergonomic design fits my ears like a glove.









Cable:

Okay, here's where I gotta vent a little. The stock cable that comes with the Q5 is, to put it bluntly, a bit of a letdown. It's thin, feels kinda cheap, and tangles like nobody's business. I swear, I spend more time untangling this thing than actually listening to music. The MMCX connectors also don't inspire much confidence. It's a shame, really, because the Q5 deserves better.



Comfort:

The Q5 is extremely comfortable to wear. The lightweight shells and ergonomic design make them disappear in my ears. I've worn them for hours on end without any discomfort or fatigue. The nozzle length seems just right, and the included ear tips provide a good seal.

Sound Analysis:

Tonality:

The overall tonality of the Q5 leans towards a balanced presentation with a hint of brightness. It's not overly warm or analytical, finding a nice middle ground that works well for a variety of genres. While listening to "The Chain" by Fleetwood Mac, the Q5 did a fantastic job of capturing the delicate balance between the acoustic guitar, Lindsey Buckingham's soaring vocals, and the driving rhythm section. However, when I switched to something more intricate like "Bohemian Rhapsody" by Queen, the busier sections felt a bit congested, lacking the spaciousness I craved.

Sub Bass:

The sub-bass on the Q5 is present but not overwhelming. It extends reasonably deep, providing a satisfying rumble without muddying the waters. When I cued up "Limit to Your Love" by James Blake, the deep bass notes had a decent amount of weight and texture. The decay was a tad slow for my liking, though, making the bass linger a bit longer than I prefer. This was less noticeable in tracks like "Angel" by Massive Attack, where the sub-bass is more integrated into the overall mix.

Mid Bass:

Moving into the mid-bass region, the Q5 delivers a punchy and controlled performance. "Hysteria" by Muse showcased the Q5's ability to handle fast and dynamic bass lines with precision. The decay here is quicker than in the sub-bass, which helps to keep the sound clean and articulate. However, I felt the mid-bass could benefit from a touch more warmth and body, especially in tracks like "Smooth Operator" by Sade, where a richer bass response would have added to the overall groove.

Lower Midrange:

The lower midrange is where I have some minor gripes with the Q5. While male vocals in "Hallelujah" by Leonard Cohen sounded natural and present, they lacked a bit of weight and richness. This region feels slightly recessed, which can sometimes make instruments like cellos and baritone saxophones sound a bit thin. This was particularly noticeable in "The Sound of Silence" by Disturbed, where the depth and resonance of the cello felt somewhat diminished.

Upper Midrange:

Thankfully, the upper midrange is a strong point for the Q5. Female vocals are clear and articulate, with a good amount of presence. Listening to "Rolling in the Deep" by Adele, her powerful vocals soared effortlessly, capturing the emotion and intensity of the song. However, I did notice a slight peak in the upper midrange that occasionally introduced a hint of sibilance on tracks like "Hide and Seek" by Imogen Heap.

Lower Treble:

The lower treble is where the Q5 starts to shine. It's crisp and detailed, adding sparkle and airiness to the overall presentation. Cymbal crashes in "In the Air Tonight" by Phil Collins had a realistic shimmer without being harsh. The decay is well-controlled, preventing the treble from becoming fatiguing. However, I felt that the lower treble could have been a touch smoother, as it occasionally sounded slightly edgy in tracks like "Kashmir" by Led Zeppelin.

Upper Treble:

The upper treble extends well, providing a good sense of air and spaciousness. "Baba O'Riley" by The Who highlighted the Q5's ability to reproduce the high-pitched synthesizer lines with clarity and detail. However, the upper treble can be a bit hot at times, bordering on sibilant with certain recordings. This was evident in "Walking on Broken Glass" by Annie Lennox, where the high notes occasionally became piercing.

Staging:

The soundstage on the Q5 is decent but not outstanding. It has a good sense of width, but the depth and height are somewhat limited. In "Hotel California" by The Eagles, the instruments were well-placed across the soundstage, creating a sense of space. However, the soundstage felt a bit compressed in "Comfortably Numb" by Pink Floyd, lacking the expansive feel that I've experienced with other IEMs.

Layering and Separation:

The Q5 does a respectable job with layering and separation. In complex tracks like "Paranoid Android" by Radiohead, the different instruments were generally well-defined and easy to follow. However, during busy passages, the separation could become a bit muddled, losing some of the individual instrument definition.

Timbre:

The timbre of the Q5 is mostly natural, with instruments sounding relatively close to their real-life counterparts. Acoustic instruments like the piano in "Clair de Lune" by Debussy were reproduced with good accuracy. However, electric guitars in "Iron Man" by Black Sabbath lacked a bit of bite and aggression, sounding slightly polite.

Detail Retrieval:

The Q5 is a fairly detailed IEM, revealing subtle nuances in the music. In "Teardrop" by Massive Attack, I was able to pick out subtle background details that I hadn't noticed before. However, the detail retrieval isn't class-leading, and some micro-details were lost in the mix, particularly in busy orchestral pieces like "Jupiter" from Gustav Holst's "The Planets."

Conclusion:

The EPZ Q5 is a solid all-rounder that offers a balanced sound signature with a hint of brightness. It excels in the upper midrange and treble, providing clarity and detail. However, it has some minor weaknesses in the lower midrange and bass, which prevent it from achieving a higher score. Overall, it's a good option for those looking for a detailed and engaging listening experience without breaking the bank.

Preface:

I would like to thank EPZ for sending this unit as part of the review tour.

Also, I’m not a seasoned reviewer, so whatever I say is purely my observation and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by EPZ or any other entity for this review. My assessment is based solely on my personal experience with the product.

Sources used:

• Dita Navigator
• iBasso DC07 Pro
• L&P W2 Ultra
• D16 Taipan
• RME ADI-2 Pro FS R

Introduction:

EPZ is a rising star in the audio scene, crafting IEMs that deliver exceptional sound without breaking the bank. Their latest creation, the K5, is a prime example of their commitment to quality and innovation.

This hybrid IEM boasts a unique combination of dynamic and balanced armature drivers, promising a listening experience that's both detailed and engaging.

Box contents:

• IEMs
• 9 pairs of eartips (S/M/L)
• 0.78mm 2-pin modular Cable (with 2.5, 3.5 & 4.4mm terminations)
• IEM cleaning tool
• Leather Carry Case

Design and Build:

The K5 sports a unique and eye-catching faceplate design. It's made from stabilized wood, which gives each pair a distinct, natural pattern. No two are exactly alike, which adds a touch of individuality. The wood is encased in a translucent resin shell, allowing the wood grain to peek through. This combination creates a really cool, almost jewel-like effect. The shells are ergonomically designed and relatively small, making them comfortable for most ear sizes. The lightweight design also contributes to the comfort, as you barely feel them in your ears. I've worn them for hours at a time without any discomfort or fatigue. The included ear tips also play a role in comfort, and the K5 comes with a decent selection to help you find the perfect fit. The only minor gripe I've come across is that the resin shells can be a bit prone to scratches, so it's worth being careful when storing them.







Cable:

The K5 comes with a pretty decent stock cable. It's a 2-core design made from high-purity, silver-plated copper. While it's not the thickest or most luxurious cable out there, it's surprisingly supple and tangle-resistant. And here's a big plus: the K5 offers modular terminations. You can choose between 2.5mm, 3.5mm, and 4.4mm plugs, making it compatible with a wide range of sources. This is a really nice touch, especially at this price point, as it saves you the hassle and expense of buying separate cables.



Sound Analysis:

Let's get one thing straight – these IEMs aren't perfect. But they do offer a compelling package that punches above its price point in many ways.

Tonality:

The K5 has a warmish tilt, with a clear emphasis on the bass. But don't get me wrong, it's not a basshead's dream. It's more like a subtle boost that adds weight and fullness without overwhelming the rest of the frequencies. When I listen to "Redbone" by Childish Gambino, that bassline just oozes with this smooth, groovy texture that perfectly complements the laid-back vibe of the song. However, I did notice that with more complex tracks like "In the Court of the Crimson King" by King Crimson, the overall presentation can feel a bit thick and lacking in airiness.

Sub Bass:

This is where the K5 really flexes its muscles. The sub-bass extension is impressive, reaching down low with a satisfying rumble. "Why So Serious?" by Hans Zimmer is a perfect example. Those deep, ominous notes in the track hit with a surprising amount of authority, adding a real sense of drama and scale. However, I did find that the sub-bass can sometimes lack control, particularly with fast-paced electronic tracks.

Mid Bass:

The mid-bass follows suit with a punchy and impactful presence. Listening to "Seven Nation Army" by The White Stripes, that iconic bass riff has a real visceral thump that makes you want to tap your feet. However, I noticed that the mid-bass can occasionally bleed into the lower midrange, adding a bit of thickness to the overall sound.

Lower Midrange:

Male vocals in this region have a warm and full-bodied character. When I listen to "Wish You Were Here" by Pink Floyd, Gilmour's voice sounds rich and emotive. However, I did find that the lower midrange can sometimes lack clarity and definition, particularly in busy mixes.

Upper Midrange:

This is where the K5's "fun" factor really shines through. There's a noticeable emphasis in the upper midrange, adding a sense of presence and detail to vocals and instruments. Female vocals, in particular, benefit from this boost, sounding forward and engaging. "Rolling in the Deep" by Adele is a great example, with her powerful vocals taking center stage. However, this emphasis can also lead to some sibilance with poorly recorded tracks.

Lower Treble:

The lower treble maintains a good energy level, contributing to the overall sense of detail and airiness. Cymbal crashes and hi-hats have a nice sparkle without being harsh. Listening to "Take Five" by Dave Brubeck, the delicate cymbal work shimmers with a natural sheen. However, I did find that the lower treble can sometimes sound a bit splashy, particularly with brighter recordings.

Upper Treble:

The upper treble is present but not overly emphasized. There's enough extension to provide a sense of air and sparkle, but it's not overly bright or fatiguing. "Little Wing" by Jimi Hendrix showcases this well, with the high notes of his guitar soaring smoothly without any harshness. However, I did notice that the K5 can sound a bit rolled-off in the very top end, lacking some of the ultimate air and shimmer that I've heard in other IEMs.

Staging (Width, Depth, and Height):

The soundstage is decent for an IEM in this price range. It's not the most expansive I've heard, but it's certainly not claustrophobic either. "Bohemian Rhapsody" by Queen has a good sense of space, with the various instruments and vocals positioned clearly across the soundstage. However, the depth could be better, as the layering of instruments sometimes feels a bit flat.

Layering and Separation:

The K5 does a decent job of separating instruments and vocals, but it's not its strongest suit. In complex tracks like "Starless" by King Crimson, the individual elements can become a bit entangled, losing some of their distinct character.

Timbre:

Overall, the timbre of the K5 is quite natural and pleasing. Acoustic instruments, like the piano in "Moonlight Sonata" by Beethoven, sound realistic and well-rendered. However, I did notice a slight metallic tinge to some instruments, particularly electric guitars and cymbals.

Detail Retrieval:

The K5 is a surprisingly detailed IEM for its price. It manages to extract a good amount of nuance and texture from recordings. Listening to "Hallelujah" by Leonard Cohen, the subtle nuances in his voice, like the slight rasp and vibrato, are clearly audible. However, it's not the last word in resolution, and some of the finer details in complex tracks can get lost.

Conclusion:

The EPZ K5 is a fun-loving IEM that prioritizes an engaging and energetic sound. It's got a punchy bass, clear vocals, and a decent level of detail retrieval. However, it's not perfect, with occasional issues in clarity and treble extension. Overall, it's a solid choice for those who value a lively and enjoyable listening experience over ultimate accuracy.

Preface:

You can purchase Vivace at the following link (not an affiliate link):
https://www.linsoul.com/products/tripowin-x-0dibi-vivace?_pos=6&_fid=be53225e7&_ss=c

Also, I’m not a seasoned reviewer, so whatever I say is purely my observations and your results may vary.

I’m not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment’s sound and that’s it.

Disclaimer: This is a review unit from Linsoul however I retain full editorial control and the opinions expressed here are solely my own. I have not been paid or compensated by Linsoul, Tripowin or any other entity for this review. My assessment is based solely on my personal experience with the product.

I do get to keep the unit after review but that had no influence over the opinions expressed below.

Linsoul Store links (None of them are affiliate links):

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?me=A267P2DT104U3C&marketplaceID=ATVPDKIKX0DER

Sources used:

• Google Pixel (Gen 2) Type C to 3.5mm dongle
• iBasso DC07 Pro
• iBasso D16 Taipan
• iBasso DX320
• FiiO M17
• RME ADI-2 Pro FS R
• Gungnir + XI Audio Broadway S

Introduction:

Tripowin is a Chinese audio company that focuses on providing solid audio experiences without breaking the bank. They've carved out a nice little niche for themselves in the budget IEM world, often collaborating with other brands and reviewers to create unique products. The Vivace is a perfect example of that, born from a partnership with Korean audio reviewer 0DiBi. My own experience with Tripowin is limited to the Olina and Olina SE, both of which I really enjoyed. They offered fantastic value for the price, so I was eager to see what they could do in collaboration with 0DiBi on the Vivace.

Speaking of 0DiBi, I'll admit I'm not super familiar with his work. Most of his content is in Korean, which puts it a bit outside my wheelhouse. But from what I've gathered, he's got a good reputation in the audio community and seems to prefer a balanced and natural sound.

Box Contents:

• IEMs
• 0.78mm 2-pin Cable (3.5mm terminated)
• 06 pairs of silicone tips (S/M/L)

Design and Build:

The IEMs have a simple and understated design with a plastic shell. They are very lightweight, which can make them comfortable to wear for long periods of time. I do however have to note that the nozzles were short which usually is a blessing for my small ears and narrow ear canal but in this case, I was unable to get a good seal with my regular go to tips so I had to switch to tips with longer nozzles for deep insertion.

The Vivace comes with a high-grade monocrystalline copper cable. The cable has a rubbery feel to it but it does an excellent job of not tangling on itself, retaining any memory and avoiding any microphonics. The Y split and termination are made of metal and overall, it's a decent cable.











Sound Analysis:

Tripowin used a single 10mm titanium diaphragm dynamic driver in Vivace and let's be real, nobody's expecting miracles from a $30 IEM. But the Tripowin x 0DiBi Vivace isn't about chasing audiophile nirvana; it's about maximizing enjoyment and value. And in that arena, I think Tripowin and 0DiBi have scored a major win. The Vivace delivers a fun, engaging sound signature that's easy to get lost in for hours. It might not be technically flawless, but it's a definite upgrade from your typical earbuds.

Tonality

The Vivace has this inviting warmth that just pulls you in. It's like a cozy blanket on a cold night, perfect for genres like acoustic music and vocal-centric tracks. When I cue up "Hallelujah" by Leonard Cohen, the Vivace beautifully captures the deep resonance of his voice and the subtle nuances of the guitar. However, this warmth can sometimes make things feel a bit crowded when the music gets busy. In "Bohemian Rhapsody" by Queen, those operatic sections felt slightly less defined than I'd prefer.

Sub Bass

The sub-bass has a satisfying rumble that adds weight and impact to electronic and hip-hop tracks. "Limit to your love" by James Blake, with its deep bassline, truly shines on the Vivace. The sub-bass provides a solid foundation without becoming overpowering. However, I did notice that in tracks like "Angel" by Massive Attack, the sub-bass can sometimes overshadow the mid-bass, making the overall bass response a bit less articulate.

Mid Bass

The mid-bass is where the Vivace really comes alive. It's punchy and impactful, adding a satisfying thump to kick drums and bass guitars. Listening to "Smooth Operator" by Sade, the bass line has a lovely groove that makes it impossible not to tap your feet. However, the mid-bass can sometimes bleed into the lower midrange, adding a bit of warmth that might not be to everyone's liking. This was noticeable in "Teardrop" by Massive Attack, where the vocals felt slightly veiled.

Lower Midrange

The lower midrange is slightly boosted, adding warmth and body to vocals and instruments. This is particularly evident in tracks like "Ain't No Sunshine" by Bill Withers, where his voice sounds rich and full. However, this boost can sometimes make the lower midrange sound a bit thick, especially in busy tracks.

Upper Midrange

The upper midrange is well-balanced, ensuring that vocals and instruments sound natural and clear. Listening to "Hotel California" by the Eagles, the harmonies are beautifully rendered, with each voice distinct and clear. However, I did notice that the upper midrange can sometimes sound a bit recessed compared to the lower midrange, which can affect the presence and intimacy of vocals in some tracks.

Lower Treble

The lower treble provides adequate clarity and detail, but it lacks the sparkle and airiness of more expensive IEMs. In "Little Wing" by Jimi Hendrix, the guitar solo has a decent amount of bite, but it lacks the shimmer and brilliance that I've heard on higher-end IEMs.

Upper Treble

The upper treble rolls off smoothly, which prevents the Vivace from sounding harsh or sibilant. However, this also means that it lacks some air and extension in the top end. In "Clair de Lune" by Debussy, the piano notes lack the delicate shimmer that I've heard on other IEMs.

Staging

The soundstage of the Vivace is decent for its price, but it's not going to blow you away with its width or depth. Listening to "Stimela" by Hugh Masekela, the instruments are positioned relatively close to each other, creating a more intimate listening experience. The depth is adequate, but not exceptional. In "The Chain" by Fleetwood Mac, the layering of instruments is apparent, but they don't feel particularly distant from each other.

Layering and Separation

The Vivace does a decent job of separating instruments, but it can struggle with complex arrangements. In "Baba O'Riley" by The Who, the individual instruments are discernible, but the overall presentation can feel a bit congested during the more intense sections.

Timbre

The timbre of the Vivace is generally natural and pleasing, especially with acoustic instruments. Listening to "Classical Gas" by Mason Williams, the acoustic guitar sounds realistic and engaging. However, the timbre can sometimes sound a bit thick and warm, especially with electronic instruments.

Detail Retrieval

For a $30 IEM, the detail retrieval of the Vivace is surprisingly good. It won't reveal every last nuance in a recording, but it picks up a decent amount of detail. In "The Boxer" by Simon and Garfunkel, the subtle nuances of their voices and the delicate fingerpicking on the guitar are clearly audible.

Comparisons:

Tripowin x 0DiBi Vivace

• Tuning: Warm, balanced with a slight bass emphasis.
• Strengths: Engaging and fun sound, punchy bass, good detail retrieval for the price.
• Weaknesses: Can get congested in busy tracks, soundstage isn't very wide.

Tangzu Wan'er

• Tuning: Neutral with a slight emphasis on the upper midrange.
• Strengths: Excellent detail retrieval, wider soundstage than the Vivace, more balanced overall.
• Weaknesses: Can be a bit too analytical for some, bass impact is less pronounced.

Kinera Celest Wyvern Abyss (Black)

• Tuning: Darker and warmer than the Vivace, with a more relaxed presentation.
• Strengths: Smooth and non-fatiguing sound, good for long listening sessions.
• Weaknesses: Lacks the detail and clarity of the Wan'er and Vivace, bass can be a bit overwhelming.

Kiwi Ears Cadenza

• Tuning: Balanced with a slight emphasis on clarity and detail.
• Strengths: Excellent technical performance, wide soundstage, good instrument separation.
• Weaknesses: Can be a bit bright for some, more expensive than the other options.

Here's how I'd break it down:

• If you prioritize detail and a wider soundstage, the Tangzu Wan'er is a strong contender. It's a more analytical IEM compared to the Vivace, which may not be everyone's cup of tea, but it excels in technical performance.
• If you prefer a smoother, more relaxed sound, the Kinera Celest Wyvern Abyss (Black) might be a good fit. However, keep in mind that it sacrifices some detail and clarity compared to the other options.
• The Kiwi Ears Cadenza is the most technically proficient of the bunch, but it also comes with a higher price tag. If you're willing to spend a bit more, it offers a significant step up in overall performance.
• However, if you're looking for the best overall value and a fun, engaging sound that doesn't fatigue your ears, the Vivace is the way to go. It strikes a great balance between musicality and detail, making it an excellent all-rounder for various genres.

Conclusion:
In the grand scheme of things, the Tripowin x 0DiBi Vivace is a reminder that audio enjoyment doesn't always require a hefty investment. These IEMs offer a thoroughly enjoyable listening experience with a clear focus on musicality and warmth. While they might not be the last word in technical prowess, their engaging sound signature, comfortable fit, and undeniable value make them an easy recommendation for anyone seeking a budget-friendly upgrade to their daily audio.

The Vivace proves that you don't need to break the bank to truly feel the music. It's a testament to smart tuning and accessible audio, and I wouldn't hesitate to recommend it to anyone looking for a taste of audiophile goodness without the audiophile price tag.