CVJ Freedom

General Information



PLUG TYPE: 3.5mm, 4.4mm, 2.5mm

Latest reviews


New Head-Fier
Another Generic IEM? CVJ Freedom
Pros: 1. V Shape tuning
2. Extremely revealing in treble
3. Punchy and slamming bass
Cons: 1. Uneven tuning
2. Higher frequencies aren't refined or smooth

Review Of The CVJ Freedom



This is my first time evaluating an IEM from CVJ, a Chinese firm that takes pleasure in providing its top products at competitive prices to satisfy every audiophile. They compete fiercely, in my opinion, with companies like KZ, CCA, TRN, and many more that target the same market but have different methods and tastes. When I personally listened to their IEM for the first time, I discovered that it had superior sound quality for the price and that it wasn't the same generic sound that other businesses offered in their goods. But before doing so, I'd like to clear up a few things. I'll attempt to evaluate their most recent release, the Freedom, as thoroughly as I can in order to provide additional clarification on that.



*Since this unit tour was organised by the beautiful people at HiFiGo, I am grateful to them. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. If interested, go to this link.
*I am not associated with the connection, and I receive no financial assistance from anyone.
*For the remainder of the review, I will refer to these IEMs as “Freedom.”
*I am using different Ear-tips for convenience and better versatility.
*Finally, I will only evaluate the Freedom based on their performance, even though I will explain how it feels and seems physically and aesthetically.


There are five drivers on each side of the Freedom, four of which are balanced armature drivers and one of which is a dynamic driver. To be more precise, their nanophase ceramic vibrating "colorful" diaphragm driver produces strong low ends while the balanced armatures are designed to produce highs and mids. The faceplate is made of metal, while the shells are made of resin. Two movable tuning switches are also included in the IEM to accommodate your preferences. The shells are similar to any $50–$80 IEM from Kz or CCA in terms of feel, and they share the same ergonomic design, which prevents pain from manifesting while allowing for longer listening sessions. The cable is a 400 core high purity 5N OFC cable with interchangeable termination plugs in the sizes of 3.5mm, 2.5mm, and 4.4mm on one side and qdc type connectors on the other. The fiver drivers can practically operate thanks to the tunable switches, so either adjustment will allow a number of balance armatures to produce sound. Three pairs of eartips in three different sizes, a tuning pin, and a carrying pouch round out the other accessories. In terms of the technical details, the sensitivity is 113dB, and the impedance is 22 Ohms. 20Hz to 20kHz is the range of the frequency response.



** Both switches are up 'II' or 'UU' during the examination, indicating that all drives are operational. **

The Freedom's sound is more V-shaped, crisp and punchy at the same time, and the vocals are moderately forward in the mix, bringing out a more detailed yet upbeat sound. Even though there are other IEMs that offer a similar presentation in the segment, the clarity and quality in each region make it a more competitive IEM. Of course, the sound is not exactly what I would say will suit many people when it comes to a balanced signature, but those who prefer a metallic and sharp presentation will prefer the sound out of these. I must admit that while some nuances are unavoidable, I really don't like them. With the exception of where I think it starts to sound boxy, the treble is clear and airy, and the midrange is moderately forward and full of energy. The mix is affected by the authoritative bass. In comparison to what I used to hear from the Kz, whether it was their ZEX, ZES, or ZAS, I find the sound to be offensive in the higher frequencies, but the presentation is richer and more complex. But there are more differences between the two words than just tonality or technicality. Let's talk about this in more detail.



Right after giving it my first listen, I discovered that the treble sounded unnatural. It can simultaneously sound tinny and airy. Whether coming from instruments or vocals, the notes have a lean and overall light sound. In contrast to the lower treble, which sounds hazy, the upper treble sounds extremely energizing and lively. The notes produce nice details but are overdone in the upper treble, possibly more than the drivers can handle. The sound is very lean and bright. IEMs in this price range with their BAs set up in the nozzle typically have issues of this nature. Personally, I don't like it.The sound of the instruments is peaky and tinny even as the upper treble returns. Higher octave vocals combine into a single note and sound sibilant while emitting ss sounds. There are unnecessary dips between 3k and 6k, which hinder the quality of the details produced but add more resoluteness in the delivery approach, and the lower treble sounds effectively calm and much better but is overshadowed by the quantity of the upper treble. While trying to produce a good exposure, neither the vocals nor the instruments in the mix are particularly strong in themselves. Overall, the treble region is therefore presented in a crisp, detailed, but unpleasant manner.

Mid Range

Mid range has a slightly different story, but from what I can tell, it's impossible to listen to vocals and instruments in this range with any degree of enjoyment. In general, the mid range sounds more detailed and crisp than Kz ZEX or Kz ZAS. The main factor in why I find it monotonous is the zigzag response of the mix; the sporadic dips prevent a faithful response and bring tainted notes that will feel very detailed but lose composure when the counterparts that are subdued come into play. I'm referring to the upper mid range here, where the sound is less forward and more centered, especially the vocals. The presentation of the treble region and the dip between 2k and 5k raise doubts about both the quantity and quality of the sound. The energy is also not even close to that of the lower treble. The presence of the female vocals is not as strong as it should be, and because of the exposure's lightness and leanness, the wispiness is frequently audible in the mix. The male vocals lack an organic quality. Now that the lower mid range produces good, dense notes but lacks cohesiveness towards higher frequencies, I'm confused. The notes are thick and dense, which I find ambiguous but that they sound right. However, the bass guitar has a robust response. Overall, the mid range is presented in a light, boring manner that is only mildly present.


It produces a sizable amount of bass with a strong, influencing approach in the mix. However, if we're being completely honest, the texture and sub bass are superior to models like the KZ ZEX and ZAS. The sub bass, which goes deep enough, is given more prominence. When listening to bass-heavy tracks, the bass can be fierce but does not allow rumble sensations. The punches are quick, but they feel puffy and light compared to the rumble. The thumps and boom aren't very lively or exploitative, but the mid bass still produces a good presence because the slams are more provocative and believable. The mid range can sound thick and dense without going overboard because the mid bass does occasionally leak into the lower mid range. Basically, there isn't much to say about the bass other than to acknowledge its quality and texture. Overall, the bass region is presented in a punchy, slamming, and tasteful manner.

Technical Performance

Regarding the technical performance, I would say that it is average compared to the other competitors in the market. The stage is wide but the sound doesn't travel very far, but it has a better depth in comparison. With distinct nature, the separation is also quite good and the elements don't sound crowded. Although the imaging is good, it could have been improved and made more relaxed. Due to the driver's incompetence, the resolution is merely average but the details are forthcoming. Additionally, the notes' attack and decay have a moderate tempo, which is acceptable given the competition in this segment.


Sound Impressions


Sony WM1A(Mr. Walkman Mod) - The sound was even more pronounced in the treble when listening with the WM1A, but the dynamics of the bass helped to balance it out because the texture and impression of the bass were improved while the midrange remained unchanged. Technically speaking, the signature was not significantly changed, but the stage had a more holographic feel, the separation was more distinct, and the details made notes more revealing. I thought the response was, for the most part, likable and acceptable.


Tempotec V6 - While listening on the V6, the treble came across as harsh and sibilant, but the details and note clarity were excellent. The bass was more tightly controlled while the midrange remained unchanged. Since the technical aspects were unaffected, I didn't like this sound presentation because it was too much for me.


iFi Hipdac - Less treble was audible in the hipdac response, and the bass was stronger and more commanding. The mid range was more noticeable, and the overall sound quality was better. Although there were no technical changes, the sound improved and became more likable. The Hipdac pairing is the best of the three.


Tuning Switches

OO(DD) - When playing in standard tuning, which only uses the notes BA and DD, the sound was more at ease and preferred in tuning. With more extension, the treble was greatly subdued and became smoother and more expansive. There are no tinniness or sibilance present. In my testing, I was unable to identify any significant, obvious differences in technical abilities. Treble is muted, which makes the bass more pronounced and impactful. The modifications are, in my opinion, the best overall and a total package.


IO(UD) - Three BAs and a DD are active in this configuration. The tuning is the same as the one I used for the primary evaluation, which is "II." The sibilance was less noticeable in the mix, but other than that, it was essentially unchanged. While listening to vocal or bright tracks, I do not prefer this tuning. However, R&B and hip-hop are acceptable.


OI(DU) - When in this configuration, a DD and two BAs are active. Sincerely, I couldn't tell the difference between this tuning and standard tuning. But I think the details got clearer and more revealing, with more sibilance and tinniness. Technical differences were nonexistent as well. As a result, I enjoy both this and the standard tuning. When adjusted, vocals and classical music sound their best.



Luna Haruna - Glory days
Luna Haruna - Overfly
Rokudenashi - The Flame of Love
LMYK - 0 (zero)
Marina Horiuchi - Mizukagami no Sek
Indila - Love Story
Indila - Tourner dans le vide
Earth, Wind & Fire - September
Tom Petty - Free Fallin'
Fleetwood Mac - Everywhere
Nirvana - Smells Like Teen Spirit
Blue Oyester Cult - (Don't Fear) The Reaper
Guns 'N' Roses - Sweet Child O' Mine
The Police - Every Breath You Take
Gojira - Amazonia
TV on the radio - Wolf Like Me
Bring Me To The Horizon - Can You Feel My Heart
Bring Me To The Horizon - sTraNgeRs
Avril Lavigne - Dare To Love Me
Travis - Love Will Come Through
Gotye - Somebody That I Used To Know
DJ Shadows - Six Days (Remix) [feat. Mos Def]
Lady Gaga - Just Dance
Lil Wayne - Lollipop
Flo Rida - Low
Sebastian Lopez & Flug - Electronic Measures
Federico Mecozzi - Blue (Da Ba Dee)
Wayve - Not Enough
Kai Wachi & TeZATalks - Ghost
NGHTMRE, Zeds Dead & Tori Levett - Shady Intentions
Zeds Dead, DNMO & GG Magree - Save My Grave
Skrillex, Noisia, josh pan & Dylan Brady - Supersonic
Skrillex & Nai Barghouti - Xena
Skrillex, Missy Elliott & Mr. Oizo - RATATA
Kaifi Khalil, Eva B & Wahab Bugti - Kana Yaari
A.R. Rahman, Javed Ali & Mohit Chauhan - Kun Faya Kun


A solid V-shape sounding IEM with each tuning switch disabling or enabling BA drivers, these IEMs aren't generic but they're also not unique to your taste or preference, is what I'd say to sum up this review. I must admit that after this evaluation, I proved to myself that better drivers aren't always the best. However, I can suggest these IEMs to gamers and treble lovers.

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500+ Head-Fier
CVJ FREEDOM: Freethoughts On Its Tonal Aspects
Pros: △ Solid built quality of its composite shell chassis
△ Finally, a newly improved stock cable with better materials and a thicker profile.
△ Modular and detachable termination plugs for versatility on output sources
△ Three types of termination plugs to choose from, a 3.5mm SE, a 4.4mm balanced and a 2.5mm balanced output.
△ Remarkable product presentation.
△ Working toggle switches for different types of sonic profiles.
△ Authoritative bass.
△ Sufficiently clean and detail sounding.
△ Above-average technical capabilities.
Cons: ▽ Recessed and lean midrange.
▽ Noticeable bass bleeds on some tuning settings.
▽ Overwhelming too bright on some tuning settings.
▽ Instances of having a jarring, sibilant and tinny sound especially on upper-mids and treble boosts setting modes. Undoubtedly, not for treble sensitive blokes out there.
▽ Sorry neutral heads, this set is definitely not for you.

"I prefer liberty with danger than peace with slavery."

~Jean-Jacques Rousseau, Swiss-French political philosopher, Father of French Revolution.

It seems that CVJ are now in freedom mode as they finally break their shackle of mediocrity this year as they keep releasing new products on a monthly basis. Since the release of the CVJ Mei that receive a majority of positive feedback from its users and some reviewers, CVJ looks like they are good path on how they deliver their recent products in ultra-budget to entry-level segment


This is their latest product, CVJ Freedom. This set seems to follow the footsteps of Mei as it has the same driver system and also has a tuning switches. CVJ Freedom is an IEM with hybrid driver set-up consist of 1 dynamic driver and 4 custom balanced armature drivers. The dynamic driver has new type of material, a nanophase ceramic on its diaphragm which has better fracture resistance, high ductility rating and good hardness to deliver a more rumbling and deeper pitch on the low frequencies while the 4 custom balanced armature drivers that handles the midrange up to the ultra-high frequencies to give a more texture, clarity and detail across its respective frequency ranges. All drivers are connected to a tiny electronic crossover board to adjust electrical waves to deliver a constant and seamless sonic performance with less chance of distortion issues.


The internal components are encapsulated in a shell chassis made of composite materials, an aluminium alloy and acrylic resin. The shell chassis seems to take a CIEM-style shape that will be more versatile when it comes to fitting in almost ear sizes and its aluminium alloy faceplate looks like it undergoes a sandblasting process to give that matte-finish look. At the top of its cavity base, there we can find two toggle switches for different tuning modes. Its interlocking mechanism has an improved QDC-type 2-pin connector.


CVJ finally upped the quality of their stock cable on their flagships as it introduced a new type of cable, a 4-core, 5N rated OFC copper wire insulated with PU coating. That quality of new stock cable is somehow sturdy, stiff yet malleable enough and less prone to entangling. It is also noted this one has also a modular termination where you interchange it with three types of different plugs either its a 3.5mm single ended, 2.5mm balanced or 4.4mm balanced for various output jacks in desktop audio interfaces, USB dongles or DAPs.


As for fitting and comfort, CVJ Freedom seems to fit pretty well on my lugholes and I can wear them for long listening sessions without any feeling of listening fatigue. It has good isolation as it able to block a substantial amount of external noise from the outside surroundings.


When it comes to product packaging, CVJ Freedom appears to even level up its product presentation on how it compartmentalises its inclusions. It has a rubber-like surface on its navy blue-coloured medium-size rectangular box and at the bottom, there's even a drawer type compartment where you find other accessories that were put there.


Here are the following contents inside from the box:

■ a pair of emerald-coloured CVJ IEMs.

■ modular stock cable with 4.4mm balanced termination plug.

■ three (3) pairs of white-coloured balanced bore ear tips in different standard sizes.

■ 2.5mm balanced termination plug.

■ 3.5mm SE termination plug.

■ Tuning pin.

■ IEM velvet cloth pouch.

■ Some paperwork like instruction manual, Q.C. card and warranty card.


CVJ Freedom is easy to drive as it scale well even on devices with decent power output like smartphones, tablets and laptops. It is even quite loud enough even at 30-40% volume level on my LG phones with good DACs.


Due to its tuning switches that gives more flavour on its sonic profiles that makes CVJ Freedom an even more versatile set. Here are its tuning settings with specific tuning.

Legend: ■ = Switch up, □ = Switch down

□□ = a warmer, U-shaped sound signature.

■■ = similar to □□ with some emphasis on the treble region.

■□ = a brighter V-shaped due to more accentuated upper mids to presence treble region.

□■ = a tad warmer V-shaped, more emphasis on bass.



This is one of the most prominent parts of the CVJ Freedom's frequency range as it is quite potent, impactful and authoritative bass response but depending on tuning setting, the bass quality sounds either punchy or boomy to the point they are way too boosted in my liking.

Sub bass shows a good rumbling and as I was able to discerningly feel it when I hear some synth-pop, hip-hop and RnB tracks with instruments like synthesisers, low tone bass guitar or octabass and drum machines. Mid-bass is well-textured as it even give more density and weight on its notes and pitches particularly on bass kick drums, bass guitars and bass-baritone vocals.

□□ & □■ = too boosted and exaggerated to the point that it smudges across the midrange frequency. Bass guitars sounds broad and weighty as it roars while bass kick drums have a thunderous and authoritative sound, and then it give more dark and guttural sound on bass-baritone vocals.

■■ & ■□ = It has a punchy bass presentation as it somehow lessens the bass smearing that might muddle the overall frequency range but it still remains a vigorous sounding. Bass guitars sound more resonant and sonorous then the bass kick drums have a thudding and less boomy sound. Bass-baritone vocals sound almost the same as I don't notice changes in its characteristic.


In all tuning settings, the CVJ Freedom somehow recessed and was a tad leaner in overall presentation but it depends on the tuning mode. The settings □□ and □■ has an added warmth on it that will be favourable on vocals like baritone, tenor and contraltos, then on instruments like some brasses and percussives. And then ■■ and ■□ mode gives a more transparent, brighter and crisper which is beneficial on vocals like mezzo-sopranos, sopranos and countertenors but at the expense of having that shrilly, screech and hoot sound that will certainly be problematic to some listeners who are particularly sensitive on these peaks.

□□ & □■ - It gives a substantial note weight on vocals to have a sufficient depth and texture on its tone. Baritones have a velvety and warm sound, tenors have that dazzling tone from them particularly on dramatic and lyric types like Jose Carrera and Placido Domingo but on Luciano Pavarotti, it seems that there's a lacking of depth on his vocal especially on his performance on "La Donna E Mobile" in my opinion. Contraltos seems to sound fine here as it has sufficient strength, chesty vocal registers from the voices of Annie Lennox and Anggun. On instruments, It gives a more a tad warmer and rounded tone on brasses like trumpets, trombones and horns, a bit booming sound on both field and tom drums, a velvety sound on marimbas and rustling and hard sound on snare drums. On strings like acoustic guitars and violins, they have a warmer sound to give the guitars a throaty to a balanced sound and an eloquent yet solemn sound on violins.

■■ & ■□ - this setting gives a more brighter, energetic and sharper tone in vocals particularly on female ones and some instruments like woodwinds and strings. On mezzo-sopranos, it gives a more fiery and gleaming tone on the vocal qualities of Andrea Corr and Stevie Nicks which I think in my opinion is a bit unnatural. Surprisingly, that countertenors sound good on this one, as I listened to operatic types like Andreas Scholl or from King Diamond on the heavy metal side as they sound similar to a castrato that is coppery and has that tingly smooth vocals. Sopranos have those gleaming, shimmering and metallic tones to the point that it is somewhat overdone particularly on lyrical and coloratura types that might be too jarring and scratchy as I listen to Diana Damrau and Cecilia Bartoli. On instruments, concert flutes have penetrating and shrill sound from them while saxophones and clarinets have this reedy and forceful tone. String instruments likes acoustic guitars have bright and crisper tone while violins sound lively albeit tad shrilly and metallic tone from it. Celestas have a bell-like and glistening sound while pianos have a brighter and ceiling tone from them due to the boosted mids to treble region.


This is definitely accentuated and elevated as it sound really bright, sparkly and crisp but adjusting its switches into ■■ or ■□ mode will even boost the upper-mids to the brilliance to have more sheen, edgy and airier but the at expense of being sibilant as it has excessive hissing on some consonants and instances of being strident and added by the tinny and metallic nature of its BA.

□□ & □■ - These settings have a "balanced" treble with sufficient brightness and sufficiently detailed. The airy extension of its brilliance treble region is somehow subdued and cymbals sound soughing and undulating while it captures a realistic tone of hi hats to have a distinctive shortened buzzing sound.

■■ & ■□ - Overly bright in my opinion, it overemphasis the tone and timbre of vocals and percussives like cymbals, triangle, and bells. Cymbals and triangles have these piercing and splashy sounds while bells have too many overtones that it sounds too metallic and bright in my opinion. Although it has a more airy on its brilliance treble region.


It has an average to above average sound/speaker stage in sidewise, a good height reach and good depth from front to rear to give me an adequate headroom and yet and immersive within my aural sphere.

On imaging, this quite interesting as it presents a concave, two-dimensional stereo panning as I was able to locate the placement of instruments and vocals with good separation and decent layering although it presents a two layer arrangement rather than a multi-layered presentation in a sonic canvass but it was able to render on more complex tracks.

It has a good cohesive performance of its multi-driver set up as it was able to deliver a moderate transient along with its gradual decay. On resolution capability, they perform pretty well on both macro-dynamics and micro-detail retrieval as it has solid texture and emotive notation attacks on macro-dynamics and a sharper and delineated definition on extracting details and nuances of infos from audio tracks. The tonal and timbre is much on brighter side of the tonal spectrum, a less organic in my opinion.



● Both have similar driver set-up and a toggle switch on their features with its erstwhile elder sister but difference was that the MEI has an all aluminium alloy built on its shell chassis and it has lesser numbers of BA drivers but it has a Knowles BA inside. When it comes product packaging, Mei has simpler approach and the stock cable is rather plain and average that there's to say about it.

● The MEI has still more balanced, more refined and probably even more natural tonality particularly on DD + Knowles BA setting as I don't hear even a hint of harshness nor sibilance. Although its DD mode setting was one of worst tuning that I've ever encountered in my audio review hobby experience as it is too subdued and too low-res sounding. They have similar technical performance albeit MEI has a typical two-dimensional stereo presentation and less sharper micro-detail retrieval.


● They have similar hybrid driver set-up but QUARTET has a different layout as it has a dual dynamic and two BAs inside. Like FREEDOM, it has two toggle switches but its shells are made of high quality medical-grade resin in a more familiar UIEM form factor. It has a decent stock cable although it's not modular unlike the FREEDOM's stock cable but the product packaging is somehow decent with some quantified amount of inclusions included inside the box.

● The QUARTET has a warmer U-shaped sound signature despite the presence of tuning switches as it only marginally boosts some parts of its frequency spectrum. Tonally-wise it has a more analogue-ish feel on its sonic profile compared to a more digital and "hi-res" tuning approach of the FREEDOM. On technical performance, compared to FREEDOM in a mano-a-mano fashion. It has less capability and underperform in all aspect from sound/speaker stage size up to resolution-capability, but one thing that QUARTET has that it has less BA timbre.

To sum up my review on this one, CVJ again steamrolled its way to the ever competitive audio market as it tries to be more compelling and valuable enough to be purchased. Its tuning isn't really my cup of tea as it doesn't suit well and aligned with my preferred tonal choice. But its technical capabilities, newly introduced modular cable along with its impressive product presentation will somehow mitigate its tonal shortcomings and it should be taken into consideration to try it out. Remember, as its tuning is not my alley but it might be a eureka moment to other audio enthusiasts. Just keep improving and always keep listening to its product feedback, Good job CVJ in this one.

CVJ FREEDOM is now both available on Shopee and Aliexpress, you can check them out in the provided unaffiliated links below.



And also for HIFIGO links:




Here are my previous reviews of some CVJ products before:











3.5MM, 2.5MM, 4.4MM

Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **


I am not affiliated to CVJ HIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to the CVJ team especially to CVJ LOVE for sending this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Last edited:
Thank you for the great review.


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