CVJ Nami

CVJ Nami: the new wave

Intro

CVJ has been releasing a plethora of products lately. Today, we have an IEM that was launched a few months ago, featuring a cable with interchangeable terminations at the affordable price of $29 USD. Let's take a look at what the CVJ Nami brings to the table—a hybrid IEM with a dynamic driver and a balanced armature.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• I would like to express my gratitude to the CVJ team (especially CVJ Love) for providing me with this unit for review
  • You can find the Nami here: https://www.aliexpress.us/item/3256805666915862.html (Official Aliexpress website)
  • You can find the VS400 cable here: https://www.aliexpress.com/i/3256805521900774.html?gatewayAdapt=4itemAdapt (Official Aliexpress website)
• Analysis over 4 days – Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec BHD Pro (dongle)

Unboxing, Build & Comfort





CVJ Nami: Construction in line with the trends seen in this price range, featuring a CNC-machined metal faceplate and a transparent resin housing that allows a view of the internal components. It is equipped with a 10mm dynamic driver with a diaphragm composed of a magnesium and aluminum alloy, along with a balanced armature (BA) responsible for the high-mid and high frequencies when activated by the switches on each IEM's side.



Cable: Composed of oxygen-free copper (OFC) and silver-plated, featuring the typical QDC-compatible connector with 2 coated pins. However, the cable's quality is remarkable—it is easy to handle, doesn't easily tangle, and comes with an interchangeable straight 3.5mm termination. It's peculiar that the product doesn't include the rest of the interchangeable tips, but after trying the tips provided by CVJ with their new VS400 cable (which is even of higher quality than the Nami's), they work perfectly.}



Eartips: three pairs of transparent silicone tips with a standard-sized bore. I would have liked to see more variety in these considering the price.



Tool for adjusting the switches.

Comfort: With the right pair of eartips, they are comfortable, although the cable may be a bit heavier than average. They protrude slightly, but I could lie down with them without any issues. They provide a decent level of isolation while listening to music or using them for gaming. I didn't need to readjust them once they were in place.

Driveability: Easy to amplify. A smartphone does a good job of providing them with enough power (Impedance: 22 ohms / Sensitivity: 114dB).



Sound Description

Since the CVJ Nami features three different modes (Subwoofer, HFE, and EHF), I will divide this segment based on the similarities they share and their particular characteristics.


Credits: Audio Reviews News
(The switches turned on will be referred to as "U," while the switches turned off will be referred to as "D") – Subwoofer = Blue / HFE = Green / EHF = Red



The three modes according to CVJ


General signature features across all modes

-V-shaped signature with clear elevations in the bass and treble regions, along with the typical "valley" in the midrange.

-Good separation between bass and sub-bass in tracks like IMANU's "Buried" and Jauz's "Goodiez".

-The extension of the subbass is decent but only that; there are more notable IEMs in this realm.

-Bass takes precedence in the signature with a strong punch but not excessively exaggerated. Good texture.

-Both bass and subbass are somewhat slow in this dynamic driver.

-Soundstage with average width and potentially small for some. Depth is comparable to IEMs in this price range, with appreciable distance to the ear between the drummer and singer in Iron Maiden's "Aces High," but not reaching the levels achieved by other models.

-The Nami manages to achieve a precise image in "simple" songs (songs with fewer than 4 different instruments), but it becomes blurred with complex songs, and I don't see it as suitable for orchestras or classical music in general.


Subwoofer Mode (DD)

Instruments in the midrange (guitars, trumpets, flutes, clarinets) are quite recessed in the signature, although strings tend to stand out more. However, male vocals retain a certain authority, as seen with Sinatra in "Fly Me To The Moon," while high-register female voices appear more subdued due to the V-shaped signature with relaxed treble (Adele's "Miss You").

Poor extension in the highs, cymbals with somewhat dull and lackluster reproduction due to their abrupt stop after being struck (Queen's "Another One Bites The Dust"). Lack of micro and macro-resolution in the highest part of the spectrum.

For electronic songs or similar genres, it provides an entertaining tuning.


HFE Mode (UD)

Female voices benefit from the boost in treble, providing clarity to high registers, as seen with Billie Eilish in "No Time To Die". Additionally, the authority and liveliness of violins and electric guitars are superior to the previous mode, despite the signature still leaving the midrange somewhat recessed.

This also adds a bit more brightness to cymbals, triangles, and other instruments in the higher range of the spectrum, making these instruments slightly more detailed and contributing a bit more air to the signature.


EHF High-Definition Mode (DU):

With the higher treble area, this configuration has the most brightness and air. Cymbals have a spectacular reproduction, but unfortunately, sibilance is audible and tends to cause fatigue quickly. Strings also tend to benefit, but they reach a perceptible metallic tone (which could be attributed to the BA or simply the tuning itself).

I don't find that the voices are significantly affected when comparing this mode to the HFE.



CVJ Nami (HFE Mode) vs Kiwi Ears Cadenza



The IEMs being compared don't have very similar sound signatures and were evaluated considering their market prices (Nami $30 USD / Cadenza $35 USD). Additionally, I wanted to pit an IEM that is a frequent recommendation of mine, like the Cadenza.


Credits: Audio Reviews News

Observations:

-The levels of extension and execution of subbass in both models are acceptable but leave one wishing for perhaps a bit more of a rumble sensation.

-Indeed, the bass has a stronger presence in the Nami, thus providing a more significant punch in electronic songs like "Goodiez" by Jauz.

-The less aggressive V-shaped signature of the Cadenza makes it the better option for vocals and instruments in the midrange. Although winds (flutes and trumpets) and pianos have a more honest reproduction with a bit more detail, guitars and violins may sound somewhat subdued in comparison to the Nami's playback, where I find greater texture in each executed string.

The majority of male and female voices benefit from the Cadenza's signature, allowing them to shine more (less bass bleed and more midrange presence overall). A particular case may be very high vocal registers where the Nami performs better than average, although it may sound artificial in some situations.

-Honestly, I appreciate the extra brightness that the Nami's BA can give to cymbals. Comparing songs like "Survive" by Stratovarius and "Black Magic" by Slayer, it's noticeable that the Cadenza tends to sound somewhat more subdued. Even in songs with triangles, like those in Tchaikovsky's "Swan Lake," the high registers played by the Nami in HFE mode don't become bothersome and offer technical nuances that are less perceptible in the Cadenza.

-The Cadenza exhibits a wider soundstage, creating better separation between instruments and vocals. Additionally, the depth they generate is slightly superior, although not to be overly praised.

-The imaging faces the same fate as the previous section, where the Cadenza may be somewhat superior in this aspect. However, both IEMs falter in songs of high instrumental complexity, such as in "Symphony No. 2 in D major, Op. 43: IV. Finale. Allegro moderato" by Sibelius, performed by the Oslo Philharmonic Orchestra, where a variety of strings (violins, violas) intertwines with various winds (trombones, flutes).



Conclusion

The CVJ Nami is an IEM that provides a fairly aggressive V-shaped signature and can be enjoyable for specific genres. Indeed, I would recommend it for that purpose: contemporary genres like Pop and Electronic music go hand in hand with the Subwoofer mode, while genres with greater instrumental complexity have a decent reproduction with the HFE mode. That being said, I find that this signature limits the versatility of the Nami, so it wouldn't be my first choice in the $30 USD range if I had to choose a single IEM to listen to my entire music library.

One last note: the CVJ VS400 cable has my 100% recommendation, offering excellent quality for those seeking an affordable modular cable compatible with QDC connections.

DISCLAIMER

I would like to thank CVJ for furnishing this unit. The Nami can be gotten here: https://www.aliexpress.us/item/3256805666915862.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm aluminum magnesium alloy DD + 1 x custom BA
• Impedance: 22 Ω
• Frequency response: 10 Hz - 40 kHz
• Sensitivity: 114dB/mW
• Cable: 0.75 mm, 2-pin S config; 3.5 mm; oxygen-free copper silver-plated cable
• Tested at $29 USD (non-mic version); $30 USD (mic version)

ACCESSORIES

Fun fact: The Nami refers to "浪里" in Chinese, which roughly translates to "within the waves".

Other than the IEM, the following are included:

• 3 pairs of silicone ear tips
• Tuning switch card pin
• Cable

There's no mincing it. The accessories are spartan, and even though this IEM is priced at sub $30 USD, I've seen similarly priced rivals packing way more goodies. A wider ear tip selection, or perhaps a case/carrying bag would have been expected.

Customers only have one variation of silicone tips to choose from, with no foam tips or other silicone variants included. These stock tips are thankfully serviceable in terms of fit and sonics.



The cable is an oxygen-free copper silver-plated cable. It is surprisingly decent haptically, and seems well-braided with no tangles. There's a chin cinch for added grip, though microphonics are present in abundance.

To not add aftermarket confounders, which may affect the sound, I completed the following review with the stock tips and stock cable.


BUILD/COMFORT



The Nami's housings are fashioned from CNC-machined resin. The inner aspects are transparent, allowing users to visualize the drivers in the belly of the IEM, while there is a silvery seashell motif on the faceplates.



Ergonomics are well designed, with the inner aspects smooth to the touch, without poking edges.

The Nami is one of the least isolating IEMs, and using this IEM in a noisy place may not be the best idea. I did not find any driver flex on my set.


INTERNALS/TUNING SWITCHES

The Nami is a hybrid, incorporating one 10 mm aluminum magnesium alloy DD for the bass and one custom BA for the rest of the frequencies. There are no marketing materials on the brand of BA used.



The tuning switches are one of the selling points of this IEM. The switch board is located at the side of the shells, and they flick easily with the provided card pin.




Graph of the CVJ Nami with various switch configurations, via an IEC711 coupler. 8 kHz is a coupler artefact peak.

Across all switch configurations, the Nami has a spectrum of V-shaped profiles. With both switches up, this confers the brightest tone, with the best resolution and soundstage. Unfortunately, this configuration may be fatiguing and harsh in the upper frequencies for our treble sensitive brethren.

On the other extreme, with both switches down, this provides a warm V-shaped signature, which is pretty smooth in the treble (though with the weakest technicalities). The other 2 tonalities lie in between these 2 signatures.


DRIVABILITY

I tested the CVJ Nami with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven, and amplification is not truly required.


SOUND & TECHNICALITIES



The impressions below are made with the Nami with both switches up (ie brightest config with best technicalities). As alluded to, this converts the Nami to a bright V-shaped profile.

On this setting, technicalities are okay for the $30 asking price, and resolution is decent. Soundstage is above average in all 3 dimensions. The boosted upper frequencies do provide high clarity. Unfortunately, some of the resolution may be "fake", as when complex and rapid tracks come out to play, music can get congested with sub-par layering/separation, and not all micro-details can be heard in tracks I'm familiar with.

Sadly, BA timbre rears its ugly head, and vocals and acoustic instruments have a hollow and metallic overtone. The timbre does improve with both switches deactivated (though at the expense of technical chops).

This IEM is sub-bass focused, with a deep extension and rumble. Bass is north of neutral. Bass quality however, is bang average, with a somewhat one-noted texturing heard, with speed on the slower side. When very fast bass riffs are tested, the bass DD driver does have some trouble keeping up with the faster BAs. Mid-bass bleed is moderate.

As per the V-shaped tuning, the lower midrange is recessed, and the slow bleeding bass does encroach here, making this region not too transparent. The upper mids have a 10 dB ear gain, and female vocals can get shouty, especially at louder volumes.

The lower treble continues on from the upper mids boost, and this IEM has decent air and sparkle. However, there is sibilance and fatigue present, with some splashiness in cymbals and high hats. Treble sensitive folk best opt for the 2 switches down config as such.


COMPARISONS

Comparisons were made against other ultra budget tunable sets. Once again, the comparisons below are made with the Nami with both switches up (ie brightest config with best technicalities).




KZ D-Fi


Graphs of the KZ D-Fi via IEC711 coupler. 8 kHz is a coupler artefact peak.

On paper, the KZ D-Fi has 16 tuning switches, but they just give a 4 dB difference in bass amongst the most extreme tunings, and mostly endow a warm neutral tonality. As such, the Nami has better versatility, even though it has only 4 tuning configurations.

The D-Fi has less bass but is smoother in the upper mids/treble region, with less fatigue and shoutiness noted.

Timbre is more natural, with a thicker note weight noted on the D-Fi. Technicalities are easily won by the Nami though, with the D-Fi having a claustrophobic soundstage and inferior micro-detailing and imaging.


KZ Krila

Yes, the self-proclaimed kilobuck killer that purportedly kills all IEMs under $1000 USD makes an esteemed appearance.


Graphs of the KZ Krila via IEC711 coupler. 8 kHz is a coupler artefact peak.

Once again, even though the Krila has 16 promised tuning options, on actual field tests, there is just a 5 dB difference in the bass amongst the most extreme of tuning switches. Thus, the Krila mostly fields a neutralish soundscape across all 16 switch configurations, with the Nami being more versatile.

The Krila has a thinner note weight and less bass. However, the Krila's bass is tighter and cleaner. The Krila has more treble air and sparkle, though it is more fatiguing and sibilant.

Both sets are not paragons of timbral accuracy, but even so, timbre is more metallic and artificial on the Krila.

In technicalities, the Krila has a smaller soundstage, but better micro-detailing, imaging and instrument separation.


CONCLUSIONS



The Nami is a forgettable entrant in the cut-throat ultra budget CHIFI market. While it is easy to drive, boasts decent build and ergonomics, with tuning switches to increase versatility, the Nami doesn't stand out from the tough competition.

The accessories are disappointing, and BA timbre and harshness appears once the more resolving tuning switches are activated. The DD bass is notably incoherent, and cannot keep up with the faster BA drivers handling the top end. I would advise to top up a little bit more to get the CVJ Mei, which is a better tunable IEM in CVJ's stable.

Sadly, I think the Nami might be forgotten after a few weeks post launch. As per its namesake of "within the waves", this IEM might be inundated and drowned by a tsunami of other CHIFI releases. It will be swept away by the current of other hypetrains and won't be talked about in a few weeks' time.

"Be like the cliff against which the waves continually break; but it stands firm and tames the fury of the water around it"

~~Marcus Aurelius Antoninus, Roman Emperor, Military leader and Philosopher, Author of Meditations.

Click to expand...

Nami means "Wave" in Japanese. The kanji character literally translates it as "Water Skins". The latest CVJ product takes some inspiration from troughs and crests forms of waves from the seas. This is CVJ Nami, this is their latest entry-level hybrid driver IEM with tuning switches. This is currently the cheapest set with modular cable set-up albeit it only includes a standard termination plug. Somehow CVJ takes a right direction on this one.



The CVJ Nami's pair of transducers have a shell chassis made of composite materials like aluminium alloy on its faceplate and polycarbonate plastic on its cavity base. The drivers inside consisting of single dynamic driver and a balance armature driver. The said dynamic driver has a newer type that it has a 10mm, thin magnesium-aluminium alloy as its diaphragm to deliver a very responsive low frequencies with good depth, precise tone, fast transient speed and impact while retaining its tensile strength for long lasting performance. The balanced armature driver is a custom made (probably an E-audio one) to handle the midrange and treble frequencies to have a crisp and detailed sound. Like most current CVJ products, it has toggle switches too for adjusting some parts of sonic frequencies.



It still uses a QDC-type 2-pin connector as its detachable mechanism. But the best implementation of CVJ Nami was the quality of its stock cable. The stock cable is identical to CVJ Freedom's as it is a 4-core, 5N-rated OFC PU (Polyurethane)-insulated copper wires and it has a modular termination plug although it only includes a 3.5mm SE. The cable's quality is quite supple and flexible that it has some resistance to entangling. This is possibly the best stock cable in an IEM product under the US$50 range.



Regarding its fitting and comfort, it seems that it fits well into my lugholes without any issues at all like ear fatigue or any discomfort as I was able to use it for long listening sessions.



As for product packaging, The CVJ Nami is rather basic with its rectangular box having an illustration of the said product at front while some instruction, basic specification and company address at the back. The inclusions are modest in quantity but the modular stock is the equaliser as its selling point.



Here are the following contents inside CVJ Nami's packaging box:

■ a pair of CVJ Nami IEM.
■ stock modular cable.
■ Three (3) pairs of narrow-bored white coloured ear tips in different standard sizes.
■ Tuning pin.
■ Paperwork like instruction manual, Q.C. stub and warranty card.



CVJ Nami is actually an easy to amplified IEM as it scales well on sufficient power output even to decent sources like typical smartphones and tablets. So putting it on a better audio source like Hi-Fi DAC dongles would rather be an optional one if you think that it might have a better sound quality.



Despite the implementation of toggle switches, CVJ Nami sound profile still leaning to a V-shaped tuning as it has more prominent bass, a scooped and neutral midrange and an elevated treble response.

Legend: □ = up, ■ = down

■■ - (1 DD) Subwoofer mode - the most "balanced" sounding setting as it has elevated bass and just an ample upper mids peaks just to sound more organic and dynamic.

□■ - (1 DD + 1 BA) HFE mode - V-shaped but it added some boosts on the presence part and some lift on the brilliance part to add more shimmer and add a modest amount of air.

■□ - (1 DD + 1 BA) EHF High Definition mode - This is the brightest setting as it truly boosted up and raise the presence to the brilliance treble frequency to have a crisper and more gleam for clarity, sparkling and copious amounts of detail.




LOWS/BASS:

Authoritative, punchy and very tactual bass response. The dynamic driver that was implemented on this one truly of a good quality as really performance pretty well.

It has a good sub-bass presence as it deliver a perceivable rumble and resonance from instruments like low-tone bass guitars and synthesisers. Midbass seems to have a more prominent role on the low frequencies as it has more body to give well-textured note weight on bass guitars, bass kick drums, violas and bass-baritone vocals. Bass guitars have a weighty and rasping sound as it roars, same as with violas almost the same characteristic albeit more darker while bass kick drums have sustaining and boomy sound from them. Then on bass-baritone vocals, It has good depth and dark tone to give that gravelly characteristic on both voices of Andrew Eldritch and Peter Steele.



MIDRANGE:

As it recessed as it was intendedly tuned. It has texture and warmth that will be favourable on male vocals and brass instruments. On some settings particularly on + 1 BA, it will add some shimmer to give more energy on female vocals and crisper percussive and string attacks.

■■ - this tuning mode has a warmer sound as it gives a heft, depth and texture on most male vocals and some female voice types. Baritones, tenors and contraltos have that fuller and lush sound to give that deep, rich and brassy tone qualities. Brass instruments like trumpets and trombones have a full and solid tone. It is also apparent that it gives a tad warm sound on string instruments as acoustic guitars have a buttery sound while violins have a lustrous and sweet sound. Percussives like timpani have a booming sound while toms and field drums have a rather rounded and deep sound.

□■ - this setting gives a bit of energy and sense of openness on some vocal types particularly on mezzo-sopranos, countertenors and sopranos. Both mezzo-soprano and countertenors have smooth, fiery and piquant sound especially on the hitting the falsetto register of the latter. Sopranos like dramatic and soubrette have these silkiness to give us that angelic and sensuous vocals. Seemingly that it also added a tad brighter tone on some instruments like strings and woodwinds. On guitars either acoustic or electric have a crisp and loaded with overtones especially when using those wah pedals as I listen to some Jimi Hendrix and Yngwie Malmsteem, while on violins, they have this vibrant and liveliness sound on every stroke of its bowstring. Concert flutes have a clear and brilliant sound from them while clarinets and saxophones have those reedy and lively sounds. On chordophones like pianos and celestas, it gives a bright and vibrant tone on the former while it has a glistening and bell-like sound on the latter.

■□ - this particular setting is the boosted version of □■ and even more energetic that it might be too much to some listeners who are particularly sensitive to this tuning. It will give more airy and shimmer on mezzo-sopranos and sopranos. Lyric and coloratura sopranos are able to deliver that shimmering and gleaming vocals that send us to a euphonic and provocative state. Violins have a more metallic tone while trombones and trumpets have those brighter and shrill sounds from them.



HIGHS/TREBLE:

In all types of tuning settings, CVJ Nami's overall treble responses are definitely elevated even on the single DD mode. It has some boost on the upper mids to give more definition and an onset on the expressive tones of some instruments particularly on percussive and also vocals. The presence range seems to have a clarity and detail while it is noticeable that it has a slope down somewhere on that part that it won't have the strident sound.

□■ - About this toggle setting has significant a tad boost on upper mids, presence and a tad boost on brilliance in the treble region to give a shimmer on cymbals strikes. It has more sparkle and an added treble air.

■□ - This mode evidently boosted all parts of the treble region to give that shimmer and sizzle on cymbal strikes and a shrill and piercing sound on glockenspiel. It even improves the treble air and gives more sparkle on harmonic. Treble sensitives should be aware of this type of tuning on this one too as it might cause discordant and ear fatigue.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

CVJ Nami has a rather average sound/speaker stage dimensions as it has an average to above average width span, a decent height reach and a good depth between front to back. This give a moderate head room within my aural sphere.

On imaging, it just simply has a typical two-dimensional, stereo panning which I was able to locate the placements of instruments and vocals. Separation and layering is decent enough for a hybrid driver set-up IEM as it able to give some spacing on each instruments and vocals but the stacking on each frequency and tonal layering of each instruments and vocals on its sonic canvas are rather rudimentary especially if you play more complex tracks.

Cohesiveness of its hybrid drivers seems to perform very excellent and its fast transient performance to deliver that clarity and detail signifies the full-range capabilities of its dynamic driver. The balanced armature driver is able to keep up with the dynamic driver's performance to deliver an intricate sound reproduction and detail and even more detail.

It also has good resolution capabilities as it is able to give a solid macro-dynamics and a decently capable micro-detail retrieval as it was able to draw out some information of details and nuances from audio tracks.



PEER COMPARISONS:


CVJ FREEDOM:

■ Both sisters are of a hybrid driver design but it has added three more balanced armature drivers. Both IEMs have identical stock cables but it has 2.5mm balanced and 4.4mm balanced termination plugs included inside the box. It is also noted that this set is more expensive.

■ Both sets have similar sound signatures but Freedom has four distinctive sound signatures that makes it more versatile compared to its cheaper sister. The U-shaped setting of Freedom has a more refinement of its overall sound quality as it less recessed midrange and smoother treble response. As for technical performance, it has better imaging, separation and layering as it is able to play more complex tracks with more accuracy to pinpoint the placements of instruments and vocals.


BGVP DN3

■ This is actually an old model from BGVP that was released around 2021. The reason I compare this one with CVJ Nami is due to the same price range and also has hybrid driver set-up. It has a CNC-milled aluminium shell chassis along with a 10mm beryllium-coated dynamic and 1 full range BA inside although it doesn't have a tuning switch as it has only one sonic profile. It has more quantity of inclusions like more choices of ear tips and a IEM pouch but the cable is rather mediocre in quality.

■ As for tonality, DN3 has a more neutral sound as it has a mild-U shaped sound profile. It has tighter bass, less recessed, more transparent and clean midrange but the upper-mids is a bit boosted that it has similar treble response with the ■□ mode yet it has less treble air. As for technical aspect, both sets have similar performance with the exception that micro-detail retrieval which Nami fares better on extracting details and nuances.


To sum up my review, it seems that CVJ is now on the blitzkrieg mode of releasing some interesting sets on a monthly basis as it performs decently on tonal and technical aspects. Since the introduction of the CVJ Mei, it is now their turning point that they finally grasp the circumstances of the current state of portable audio market.


CVJ Nami is able to perform decently on both tonal and technical performance. And probabaly, its main selling point will be the inclusion of a good quality stock cable, this is now the set with the best included stock cable in under US$60/£47 and it is also noted that is a modular one too but it only has a 3.5mm termination.

CVJ Nami is now available on CVJ official stores on Shopee and AliExpress. You can also purchase it on HIFIGO.


★★CVJ NAMI - SHOPEE★★

★★CVJ NAMI - ALIEXPRESS★★

★★CVJ NAMI - HIFIGO★★


Here are my previous reviews of some CVJ products before:


■ CVJ CS8

■ CVJ CSN

■ CVJ MIRROR

■ CVJ CSK

■ CVJ CSE

■ CVJ SHINE

■ CVJ MEI

■ CVJ TXS

■ CVJ FREEDOM

SPECIFICATION:

MODEL: CVJ NAMI
IMPEDANCE: 22Ω
SENSITIVITY: 114dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR
PLUG TYPE: MODULAR 3.5MM,
DRIVER UNIT(S): 1 DYNAMIC DRIVER + 1 BALANCED ARMATURE DRIVER


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 **


P.S.

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.