DITA Audio Project M

This will be a relatively short and sweet review of the DITA Project M. It's had a lot of great feedback on Head-Fi and elsewhere, and for the price is generally within a reasonable blind buy territory for those who have the money to spend on mid-tier IEMs. I purchased these from MusicTeck at full retail price.

Disclaimers: by "mid-tier," I'm including roughly everything from around $300-700, as I believe that notable diminishing returns start in the $500-700 price bracket or so, and probably hit hardest after $1-1.2k. I am also not a cable believer or burn-in believer beyond the brain growing accustomed to a specific tuning. That said, $700 gets you a lot in 2024.

The packaging overall is excellent, although my specific set came loose from the foam inserts. Fortunately, they weren't damaged in any way, as the package itself is pretty sturdy. In the future I might suggest that DITA place some sort of protective tape over the shells in order to keep them secure, similar to what some other models do, assuming they aren't moved to the case. The case itself is very well built, but could stand to be just a little bit taller, as it's annoying to ensure the shells are in a proper position to close the case without pressure. The cable is excellent and very ergonomic, but it would have been nice to include a slider. Be aware that the QDC pins are recessed and you'll likely have to use a bit of force to connect them.

People have seen plenty of photos, so I'll merely share one at the end, but the shells themselves look very nice in person. They do have a very snug fit, and some of the smaller sized tips allow for deeper insertion, but in my experience caused some ear canal pain after a bit of time. I suggest trying different tips to see what works best for you.

I tested them with the Apple dongle as well as a DC06 Pro, but they are easily driven and I didn't notice much of a difference in sound, if anything. Others may of course disagree. I believe they have a clean sound, for lack of a better word, with relatively good separation. They do lack bass. I very briefly tested EQing them in Apple Music, and it appears they do handle a bass lift somewhat well, but that's purely a subjective opinion.

As other reviews have indicated, the treble can be a bit strong, and sibilance as noticed on certain tracks, such as one or two off of Caroline Polachek's Desire, I Want to Turn Into You. I generally listen to a mix of alternative and pop music, but will also listen to many other genres. Mids are a little scooped out, but I think it's pretty close to being a good all-rounder within the bracket, with the exception that its tuning is not going to make bass stand out.

As far as comparisons, I do believe that if you're after a treble-focused sound signature, it's a very good value. Other IEMs in the same price $300-500 bracket that I've tried are the TIMSOK TS-316 ($499 USD) and 634ears MIROAK-II (~$320 USD).

TS-316: More of a W-shaped tuning with stronger bass emphasis. It can very much become a "wall of sound" on some busy tracks where resolution gets a bit lost. I think the Project M would win out here. The TS-316 has much better timbre and excels with acoustics and jazz. The shells are heavier due to the stainless steel and a slightly tougher fit for some, but overall I think it can be more comfortable since it feels a little less custom and "tight".

MIROAK-II (Green Copper): This has a much boomier, "musical" sound, to use the generic term. Much stronger bass, better timbre. The Project M would likely again win on the top end and overall separation, but this isn't a set you listen to for the treble. The fit can be tricky since it's a bit of a bullet, but getting the right tips helps, and it's not a heavy shell. Construction is arguably equally good if not better due to their being built-to-order.

In the case of the Project M, I felt like the dynamic driver wasn't extremely noticeable in the same way. If you told me it was a pure BA set, I'd have believed you. I also wonder if my definition of timbre is different from others, but I've seen some reviews saying it's a bit metallic. I'd agree.

I wasn't sure whether to give these a 3.5 or 4. The build quality really elevates the rating by itself. For me, they're probably in that 3.5 range, but I think they can be a good value if it's the kind of sound that you're looking for. In that case, they could even be a 5. I figure the 4 is the safe middle ground. I understand why some people may like them, but prospective buyers should try and do their due diligence.

DISCLAIMER

This is a loaner unit from DITA. It will be returned after this review.

The DITA Project M can be gotten here: https://ditaaudio.com/products/project-m (no affiliate links).




SPECIFICATIONS

Driver configuration: 9.8 mm PM1+ dynamic driver + 1 x Knowles balanced armature driver
Frequency response: 20Hz - 20KHz
Impedance: 32 Ω @ 1kHz
Sensitivity: 107 dB/mW @ 1kHz
Cable: 2-pin, 0.78 mm; 16 strand; with 3.5 mm and 4.4 mm modular terminals
Tested at: $325 USD


ACCESSORIES



Other than the IEM, these are included:
- 5 pairs of Final E ear tips (SS/S/M/L/LL）
- Systainer hard carrying case
- Cable
- 2 modular plugs (3.5 mm single-ended and 4.4 mm balanced)

The accessories are quite princely, and are befitting of a $300ish IEM, perhaps other than the lack of foam tips.




Nevertheless, the highly sought after silicone Final E tips are included here, and they are one of my favourite eartips (confession, I have about 20 pairs of Final E tips at home haha). These tips are very comfortable and slightly tame the treble - this is a good pairing for the Project M, which lies on the brighter side. DITA has included 5 pairs of Final E tips here, from SS sizing all the way to LL.

Achtung! The Final E tips provided here glow-in-the-dark, so the significant other might notice that there is a new IEM in town (this can't be hidden!)




The stock cable is a MOOCA cable by Cardas. While we have no info on the cable materials, it is sheathed with PVC, and is a 16-stranded cable. This is very well-braided and supple, though slightly tangly. Sadly there is no chin cinch, but microphonics are minimal.

It is much appreciated that this cable is modular, with a 3.5 mm and 4.4 mm distal terminal, with a screw-on cover to protect it from dislodging. I've seen other simple plug-in modular cables with no screw-on protection cause the connected DAP to drop off! With a modular concept, users can decide which modular terminal to use, depending on whether you utilize single-ended or balanced sources.




Last but not least, we have a Systainer carrying case made by Tanos. This case is quite hard and tough, which promises to cushion the precious contents inside. This case is stackable in a lego-like configuration, so that's something cool to play with for owners of more than one case.

The rest of this review was done with the stock cable and stock Final E silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Project M is downright one of the most beautiful IEMs I have encountered in my audio journey. Fashioned from transparent resin, one can see the inner workings of the Project M in all their glory. The resin shells are not just pretty wallflowers, as they are tough as nails and extremely solid.

Due to the prism-like function of the transparent resin, at some angles, the Project M's shells are illuminated with a rainbow!



The housings are very light, with top-notch ergonomics. There's a concha protrusion for added grip, with no awkward edges to poke the ears. I have used the Project M for hour long sessions without issues.



I did not encounter any driver flex on my set, which is a sign of well-implemented acoustic airflow. Isolation is average, and this IEM is suited for outside use.


INTERNALS

The Project M is a 2 driver hybrid, comprised of a 9.8 mm PM1+ dynamic driver and 1 Knowles balanced armature driver. These are nested in a stainless steel chamber, with sound tubes leading to an aluminum nozzle.




DRIVABILITY

I tested the Project M with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 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

The Project M is moderately easy to drive. While it can be driven off a weak phone, the Project M scales beautifully with amplification (for soundstage, dynamics and bass tightness). Amplification is recommended to get the most out of this IEM as such.


SOUND & TECHNICALITIES


Graph of the DITA Project M via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Project M is a sub-bass focused IEM. Having said that, it isn't the most extended in sub-bass rumble, with bass quantity is just a hair north of neutral. The Project M aces bass quality handily, with a nimble bass-line heard, coupled with nice texturing and not an ounce of mid-bass bleed.

The midrange is very transparent and clean, with no bass encroachment. Instruments and vocals are easily palleted on a dark background. With just a 5 dB ear gain, the upper mids are fowards without shrillness, which is a refreshing change from the usual shouty upper midrange in most modern day IEMs.

The Project M is a treblehead's dream. Treble is well-extended with good sparkle and air. We are greeted with astounding clarity and micro-details as such, though there is a slight sprinkling of sibilance. I'm treble-sensitive and personally find this set a tinge bright, but the Project M is one of those sets that is tuned bright but not overly harsh - I'm sure consumers have encountered some other CHIFI that are steroid boosted in the treble to give "fake clarity", but sound like an ice-pick in the ears!

There's a hint of BA timbre, with note weight a tinge on the lighter side, but nothing too egregious.

This set is a very technical and resolving midFI hybrid, which is all the more surprising considering it is just a 1 BA + 1 DD design. Micro-details are solidly captured, and layering and is very well done, with pinpoint imaging and an above average soundstage in all 3 dimensions.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Penon Fan 2

The Fan 2 is a warm neutral hybrid, with a thicker note weight. It has a lusher midrange with a less airy treble.

In technicalities, the Fan 2 is weaker, with a smaller soundstage and it is also worse in micro-detailing and imaging.

The Achilles' heel of the Fan 2 is its super long nozzles, which may cause consumers discomfort (this is in contrast to the ergonomic Project M). The Fan 2 is more easy to drive.


QOA Aviation

The Aviation is a U-shaped hybrid which is bassier. However, the bass isn't as tight, with smearing and bleeding noted. The Aviation has a less extended treble with poorer clarity.

In technicalities, the Aviation is a league behind, with inferior micro-detailing, imaging and soundstage. It sounds very veiled compared to the more resolving Project M. Timbre is a bit more natural on the Aviation, and it is easier to drive.


CONCLUSIONS



DITA has released a solid and elegant Mid-FI hybrid in the Project M. Incidentally, I believe this is DITA's pioneer hybrid release, and it is also the cheapest IEM in their stable as of the time of writing.

In terms of external tangibles, the Project M has one of the most beautiful shells in the industry, with a robust transparent resin housing that even allows a prism effect of rainbow colouration! We also have a generous accessory line-up, melded with great comfort during usage.

When evaluating it for sonic performance, the Project M furnishes a neutral bright tuning, with excellent resolution and technical chops. Bass is clean and fast, with no mid-bass bleed, and the midrange is as clean as a whistle. Treble is well-extended with great air, and this should please analytical-junkies and trebleheads.

The Project M may lie on the brighter side of the spectrum, with a bit of BA timbre and a thinner note weight, but otherwise, even for my treble-sensitive preferences, I can use it for extended sessions, and really enjoyed my time with this IEM. Verily, I would be sad to send it back after the tour!

This set will recommend for folks looking for a technical masterpiece with eye-catching looks!

Disclaimer: Dita Audio provided me with a review unit. All thoughts and opinions are my own. Unaffiliated link here.

Introduction and Packaging Impression​

Dita Audio is a boutique Singaporean audio company that has been known for their single dynamic driver IEMs and premium cables. Project M ($325) is Dita Audio's first foray into the hybrid IEM market with a single dynamic driver and a balanced armature. I did not have much experience with Dita Audio products previously, but prior to this review, I have listened to the Perpetua, Dita Audio's flagship 1DD IEM. Suffice to say, I was impressed by the sound and the craftmanship enough that I sought to know more about their products, especially knowing that they are local to me too in Singapore. Dita Audio also has a long history with Final Audio.

Due to their boutique status, most of their products are often sold out and hard to find a demo, as well as being pricey. So, when I learnt about Project M, it seemed like a perfect opportunity for me, especially at the price point (it is currently the cheapest Dita Audio product next to their DAC/amp, the Navigator). Thankfully, Dita Audio has given me an opportunity to review the Project M.



I have to say that the unboxing experience of Project M feels extremely premium. I have other expensive sets of IEMs and headphones that have much more boring unboxing experience. Opening up the box, you can find the IEMs, TANOS Systainer³ containing the MOCCA cable, and a set of glow-in-the-dark custom Final Audio Type E eartips.



Speaking about the MOCCA cable, it is a custom-built cable by Cardas Audio terminated in Dita Audio's modular cable system called Awesome Plug v2. Personally, I prefer not to use modular plug system, but if I have to use one, I prefer this screw-in type. The unit comes with 3.5mm and 4.4mm L-shaped plugs. The 2-pin plug connector is recessed and sleeved like QDC, but the protrusion on the IEM isn't as tall as QDC's. I am told that the 2-pin configuration is standard 0.78mm, non-reversed polarity, but due to that sleeve, the cable is only usable with Project M. Additionally, if you want to use an aftermarket cable with Project M IEM, the protrusion will make the 2-pin stem sticks out pretty long. Thankfully, the stock cable of Project M sounds excellent and I can tell that the IEM is indeed tuned and optimized with this stock cable in mind.




Then, we go to the container. After a short research, I found that TANOS Systainer³ is a modular container system from Germany, normally used to store industrial parts and tools. Dita Audio's decision to use this system for their default case is indeed interesting and unexpected, but I am definitely very intrigued by its organizing potential. However, I find that with eartips and cable attached, the IEMs barely fit into the case, giving the eartips a slight squish when closed. However, with the interlocking, stackable design, I hope that Dita would sell the case separately and in different sizes.



The IEM itself is encased in clear, slow-pour resin, giving you a full view of the 9.8mm PM1+ dynamic driver encased in a stainless steel chamber bearing Dita Audio's logo. There is a really small vent the size of a sewing needle near the back of the chamber. The Knowles BA is hidden in the nozzle and you can see a red and green cable running in the main sound tube into the aluminium nozzle. There isn't an obvious crossover circuitry in sight, so it seems that the dynamic driver is running full range with the BA assisting on the higher frequencies. I guess Dita Audio did not stray that far from their 1DD speciality with the custom PM1+ DD being the main star for most of the frequency range. The nozzle measures at 6mm at its widest and it may cause some fit issues for some.



At the first glance, the eartips seems to be just a glow-in-the-dark version of the popular Final Audio Type E eartips. However, on closer inspection, the bore is slightly larger than the standard Type E eartips, and the central bore feels a tad stiffer.

Overall, I find that the packaging and the unboxing experience are excellent.

Sound Impression​

Sources: SMSL H300+D300 stack, Fiio Q15, Fiio M11S, L&P W2-131, Hiby FC6, Dita Audio Navigator
Setup: Stock L size eartips, stock cable
Music Sources: Local FLAC (redbook/hi-res), Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume for prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary. I personally listen mostly to pop, jazz, some rock, and very limited metal.

First, I have to say that burn-in is a MUST for this IEM. Out of the box, it is pretty sibilant and sharp. After burn-in, the sound noticeably mellowed down and more coherent. The burn-in also helped to reduce the tinge of metallic timbre I find when I first listened to it.

I would describe the tuning to be close to neutral with a slight boost in subbass and upper treble, somewhat of a U-shaped tuning. That allows the midrange to be forward while keeping excellent extensions on both ends of the frequency spectrum. I would not call this a reference-grade/monitoring-grade neutral tuning, but the colouration is subtle enough to be enjoyable and versatile. Overall, I don't think there is any specific frequency range that stands out above the rest, keeping the sound signature balanced. It does have its quirks that made it much better on certain tracks more, notably on vocal-focused tracks.


(measurement taken with a clone IEC-711 coupler with foam tips, the small notch at 1.2kHz is my particular coupler's quirk)

Bass​

The best way to describe Project M's bass is "quality over quantity". Unless you're a basshead, I don't think you'll be lacking the bass if you can get a deep enough insertion. The bass texture is impeccable with quick attacks but deep-reaching rumble. It still maintains a certain thickness and weight to the tone without being too bassy. The stainless steel chamber seems to introduce a pleasant, trailing resonance in the bass to give it a more natural timbre. The subbass glides smoothly into midbass without having a steep bass shelf, giving it a more coherent expression of the lower frequencies.

Testing tracks: Dream of Arrakis (Hans Zimmer), DAYS (Shimizu Shota)

Midrange​

Project M's midrange is quite forward with plenty of details. Vocals do pop out slightly, but it is not too intimate or ASMR-like. The note weight is on the lean side, so it does not exaggerate male vocals while making female vocals sound sweeter to my ears (not to say that male vocals are lacking quality here). Clarity and resolution in midrange are top notch, allowing you to separate the vocals and instruments very well. The midrange is also overall sounding very clean without any noticeable bleed from the bass region.

Testing tracks: Phony (Wagakki Band), Shape of You (Ed Sheeran)

Treble​

Project M has a very airy upper midrange and treble with excellent extension to upper treble. There is a tinge of wispiness in the really high notes and it does make it seem a bit too sparkly. That sparkle, however, does improve the detail retrieval and treble texture. The burn-in helped to even out this treble region, making it less fatiguing to listen too, and does not seem to affect the excellent treble resolution. Usually with in-nozzle BA, you'll find the treble to be really in-your-face too, but luckily Project M has implemented it really well.

Testing tracks: Through the Fire and Flames (Dragonforce), Golden Hour (JVKE)

Technicalities​

Despite being a mere 1DD+1BA configuration, I would say that this is one of the most resolving IEMs in any price point. The resolution is amazing, capturing a lot of details in the presence region. Other aspects of technicalities are a bit more modest: the soundstage is just a modest "bubble" around your head, going with more depth in layering and pin-point accurate imaging rather than size. The coherence is also excellent with little to no BA timbre.

Testing tracks: Change (MONKEY MAJIK), Bubbles (Yosi Horikawa)

Driving Requirements & Pairing Suggestion​

Project M is moderately easy to drive, even through 3.5mm single-ended output. It needs a fair bit of power to open up the soundstage and dynamics, but it may exaggerate the treble too much when paired with bright sources. I would recommend a neutral to darker sources generally. Resolution does improve with more power, but it might push the treble a bit too much.

Select Comparisons​

Moondrop Blessing 3 ($319):
Looking at the price point and the direction of the tuning, Moondrop Blessing 3 is natural comparison to the Project M. I have to say, despite having a simpler driver configuration, I would say Project M bested Blessing 3 on sheer technicalities, which is quite a surprise to me as well, most notably at resolution and layering. Soundstage are somewhat on par between them, but due to the better coherence in Project M, it does a more accurate imaging. Both are U-shape, but I feel that Blessing 3 has a higher boost on both ends of the spectrum. The bass speed and details are quite similar between them, with Blessing 3 having more impact while sacrificing a bit of coherence. The treble on Blessing 3 is more smoothened out, losing out a bit of texture when compared to Project M. I personally think Project M is the superior set between the two, in terms of sound and as a whole package with the accessories.

Final Audio A5000 ($279):
The A5000 has been my favourite 1DD recently due to its comfort, resolution, and soundstage. Compared to Project M, I would say that A5000 still excels more at soundstage. However, A5000 isn't the most vocal forward set around and Project M definitely has an advantage here and in the midrange overall. At a quick listen, it seems like A5000 has similar level of treble details, however the more I listened to it, the A5000 does lean towards a more fatiguing treble expression. Project M seems to have a better-controlled treble region just shy of being shouty or sharp to my ears. A5000 also has a punchier bass, although it does sound a bit diffused rather than the focused bass with Project M. I think overall, I would go with Project M on the count of better layering and more accurate imaging.

Thieaudio Monarch Mk2 ($999):
While from the price isn't a fair comparison, but I was asked for this comparison, so here it is. They are tonally different. Monarch Mk2 has that very clean presentation with that distinct layering between bass-mids-treble, making each frequency range to be very detailed and layered yet balanced. Project M is a bit more blended with more focus on upper mids and treble, but that nudges it to be more natural and musical overall. Monarch Mk2 is my Swiss Army Knife of IEMs, it excels in most things, without having anything stand out. It's an excellently technical IEM too. Meanwhile, Project M has better vocal expression, and I dare say that I enjoy vocal-heavy tracks more with Project M than the Monarch Mk2. Project M's resolution, however, is very close to Monarch Mk2. The thing that Project M loses out absolutely against Monarch Mk2 would be the bass and versatility.

Conclusion and Final Thoughts​

Project M is an excellent entry at around $300 price range. Beautiful design, excellent set of accessories, and enjoyable sound. I believe Project M is indeed a successful foray into the hybrid territory for Dita Audio, and I do hope that whatever they learnt from this would eventually be expanded into their future products.

Dita Project-M Review​

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Dita Project-M Review​

Intro​

Well hello audio lovers, today I have a very special iem from the famous and talented audio brand “Dita Audio” and that iem is uniquely dubbed “Dita Project-M”. The Project-M is dual-driver hybrid iem with a single DD and single BA. I’ve never actually had a pair of Dita earphones in my ears prior to my time with the Project-M. However, I feel it’s a fair assessment from my perspective that there’s... something that hits different with a Dita set. I think I base that off of the respect that Dita has in the community. There’s an Allure to the name. Like some untapped air of enchanting mystery that only a few know about. Okay, that may be going a bit far, but you get what I’m trying to say. I don’t know, maybe it’s the mystique surrounding the name “Dita”. Maybe it’s the elegance in the simplicity of the earphones in front of me. Of course, that simple aesthetic is just a facade as there is nothing simple about this set. It’s obvious to me that labored love went into the creation of this set. There’s a certain charm or charisma to them. That said, this isn’t a hype review, I’m not here to promise any grand proclamations that this set punches above its price, or it’s the best in its price point. No sir. That would be tacky, cheesy, and not my style in the first place. Too many variables. I will say that it kinda feels like the Project-M is a nod to those who could never afford an actual Dita earphone. Like I said, I’ve never heard a Dita earphone until now, but I assume the Project-M has some of the same Dita DNA, yet at a more affordable price.

Project-M​

Dita is renowned for their use of single dynamic driver earphones. It’s kind of their thing. Or at least I thought it was. So, to my surprise they went with a hybrid this go-round with the Project-M. Like I said earlier, Dita chose to implement one dynamic driver and one balanced armature driver into the design which Dita claims gives the Project-M the distinct texture and characteristics behind its signature. I will cover this a bit more later but sitting here with the Project-M in my ears I feel pretty assured to say that Dita does nothing by accident. Read their material, see the careful marketing, the exquisite nature of their presentation and it becomes very obvious that Dita was serious about crafting a budget oriented iem that is built to last (10 yr parts/replacement warranty), to look beautiful, and to sound better than it should.

What’s in a name?​

One really cool piece to the story behind the Project-M was how it got its name. I love a good story behind the naming scheme of any iem or audio device that I review. Names are important. So often we see “number names” (as I like to call them) that are about as meaningless as a name can be. Dita actually has purpose and heartwarming intent behind this name, and I find it perfect. Such a class act of a company (you’ll read those words a lot). Dita actually named the Project-M after a young boy who hung around the folks at Dita since he was a young teenager (14 yrs old). This young boy had showed signs of great interest in developing further in the world of audio when he crafted his own DIY iem very young. Naturally the folks at Dita were impressed and so they let him hang around and learn. They let him mix it up with the professionals, discover the craft behind true engineers, artisans, etc. I won’t spoil the whole story and you can watch it HERE. However, to make a good long story much shorter, Dita named this set the Project-M after a young boy named “Michael”. Best naming scheme I’ve heard yet, hands down!

Dita​

I wish I had some long history with this brand because I would lay it on thick right now. Yes, even thicker than I already have. It’s just so easy to be impressed by this brand. Dita has been a prized audio brand that excels in the mystery and seems to tap every perfect button of those who’ve spent quality time with their products. I’ve done some digging. Like always, I do my homework folks. I read the reviews of their products, watched the reviews, read the message boards, perused their website… Yada Yada Yada. Consumers who’ve purchased a Dita set seem unanimously enchanted, and they seem to want to get it off their chests and talk about it too. At any rate, friends, did you know that Dita’s parent company has been around for over 49 years?! They’ve been conducting research and development through automation & engineering all this time. Dita is a Singaporean company, and they have what seems to be a love affair with music and a love affair with their craft. I wish I could tell you more but, I actually don’t really know enough and also, I don’t really want to. let’s just keep the mystique hanging around a little longer. It’s better that way. The Dita Project-M…

Non-Affiliated Purchase Links​

–Ditaaudio

Disclaimer:​

I received the Dita Project-M from Dita Audio as part of a review tour and in exchange I will conduct a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a tour unit sample iem. Dita Audio has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own, though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to Dita Audio and thanks for reading.

Gear used for testing​

–Ifi Go Blu
–Aful SnowyNight
–EPZ TP50
–Fiio Q15
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra

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Packaging / Accessories​

Unboxing​

I feel that Dita gives a pretty nice unboxing experience. You won’t feel overly lavished in goods and accessories, but what Dita does provide is all of good quality. Now, the box is a black rectangular box of good size with a sleeve covering. You’ll see the Dita logo, as well as “Project-M” in bold letters at the bottom. I love that Dita also added a frequency graph depicting the Dita Project-M’s frequency response. You have some specs on that back etc. Take the sleeve off and you are left with just a black box and a Dita logo in the middle. Open the box and you’ll see the slick looking Project-M earphones staring back at you in foam cut-outs. Right next to the Project-M is the carrying case. Inside the carrying case you’ll find the modular beautiful cable and modular cable adapters. Next to the case is the eartips sitting cool in a small plastic case which also happens to be sitting in a foam cut-out. It’s all packaged nice friends. Oh Dita… You get me.

Eartips​

The eartips are very much usable and actually sound good with the Dita Project-M. Who’da thunk it? Imagine a company who actually provides tips which actually pair nicely with their earphones. It’s a novel idea. Also, it’s a rare occasion. Most companies add some throw away horrible tips (not good), or… they throw in many different styles of tips (better). However, Dita went a step further and simply added eartips which complement the sonic tendencies of their earphones (best). Friends, like most of you, I have untold mountains of tips that do nothing more than collect dust. Let’s put it this way, I add in the “eartips” section because I feel it makes sense and it’s an important piece of the puzzle which drastically aids or derails the sonic capabilities of any set of earphones. This is one of the few times that I feel I don’t really need this section because the Dita provided tips actually…compliment the sound of the Project-M. It’s a novel idea.

What are they​

The tips in the package of the Project-M are actually Final Audio E-tips! I love them. They added in a total of five sets in five sizes which come packaged in a small plastic box. These tips are the white silicone E-tips, rigid, tacky, great seal, narrow bore. However, the coolest thing about these tips is one of the weirdest things about these tips. Did you know, they glow in the dark? Ya I thought it was weird too. I actually found this out sitting in my dark bedroom at night looking for the Project-M at my bedside. I love listening to my music at night. Anyways, how cool. I don’t even know why it’s cool, but it’s cool. I liked finding out that I would have zero issues finding these earphones. There they were… Glowing. Okay, enough about that. Did I mention it was pretty cool though?

Carrying case​

The case included in the packaging of the Dita Project-M is an odd one. I can’t say I’m a huge fan, but I wouldn’t say I dislike it either. Now, I don’t know who the brand Tanos is, but they are makers of this small box. Anyways, I do like this systainer style case, I just don’t know if it’s a good size. The case provided with the Project-M is very military style futuristic looking. It looks like I’d find a couple magazines full o’ rounds of ammunition inside of this little baddie. Anyways, the case is rather small. It feels extremely durable and probably seals watertight, but it’s small. Maybe just large enough to get your earphones and cable into. I can say this, without question your precious Project-M’s will be kept safe from most elements. Perfect for placing into a backpack or bag and safe storing (if that’s how you store your earphones). As for myself, I don’t ever use cases and wouldn’t need this case, but I know many of my friends in the community use them daily. It’s a neat case, it’s different, and like everything else, it makes sense.

Cable​

The cable is one of the coolest pieces to the puzzle that is the Dita Project-M. I believe the adapter plugs were created and crafted by the storied brand Cardas. I also believe that the cable was made by MOCCA. The cable is a beauty in my opinion. Like I said earlier, the cable is actually a modular one with both 3.5 single ended and 4.4 balanced right-angle adapters. I feel it pairs perfectly with the clean look and aesthetic of the Project-M. The cable itself is an almost opaque white cable with a very soft and pliable PVC outer layer. This cable is a 2-pin QDC style which has 16 strands and is relatively beefy while at the same time is very light which adds no extra weight. It’s a nice one folks. Personally, I always cable swap, I find it fun. I like pairing the perfect cable with my earphones. This is one of the few times I did not need to do so. The cable pairs well both aesthetically as well as sonically. Nice work Dita.

Build / Design / Internals / Fit​

Build Quality / Design​

What a sweet build! My word! Build quality and design go hand-in-hand with this set folks. They complement one another which is a rarity of late. The Project-M earphones are absolutely stunning. I really mean that. Made entirely of crystal clear beautifully transparent resin. Bubble free, like glass. Just beautiful looking. I love the way the driver and Internals look Housed within the Dita Project-M. Gorgeous. The shape is the most unique and elegant looking design that I’ve seen. I don’t even know how to describe it, if I’m being honest. You’ll notice the faceplate is almost off canter where a usual iem would have them. On the faceplate area is the Dita logo. Pure class folks. Did I mention that the Project-M is a dope looking iem? The build is as solid as it gets.

In the spirit of continuous development and evolution, DITA introduces its first resin-based, hybrid earphone, the Project M.
The M’s physical appearance is a departure from previous DITA designs, taking on an even more ergonomic form factor that is at once familiar and yet uniquely DITA.
Dita Promotional​

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Internals​

Dita chose a hybrid setup this time making use of one dynamic driver and one Knowles balanced armature driver. The dynamic driver is a 9.8mm Dita crafted PM1+ Driver. Both the Knowles balanced armature and the PM1+ DD are Housed within a stainless-steel chamber, as you can see from the photos. I don’t know much about this DD but I’m assuming a ton of care and purposeful intent went into the addition of it. I can tell you this, it is surely a very capable dynamic driver which was tuned precisely along with the Knowles BA.

The Project M features DITA Audio’s PM1+ Driver, a 9.8mm dynamic driver, newly developed and custom-built specifically for the Project M.
The main engine behind the Project M’s sound, the PM1+ is responsible for the texture and characteristics behind the M’s signature. With the driver itself boasting a full-range sound with clarity, speed and a punchy bass
The PM1+ Driver performs best with additional technology, leading us to augment the Project M’s soundstage with a single Knowles Balanced Armature Driver.
Dita Promotional​

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Fit / Comfort / Isolation​

As far as fit is concerned, I feel that the odd shape of the Project-M actually helps in the fit and overall comfort of this earphone. For whatever reason the off-center faceplate actually makes it easier to put into my ears. I get a fantastic seal right away. The Project-M aren’t ultra heavy but there’s some weight there. However, the weight distribution is as good as it gets. I never feel fatigued by the size, weight and shape of the Project-M either. I’d say they are pretty darn comfortable. Well, as comfortable as a set of in-ears could be. Isolation is very good. I’d say above average for sure. I get very little sound from the outside world. Within reason anyways. Nothing completely isolates outside noises. However, this set does very well. I never got any complaints from my wonderful family about sound leakage either so no worries there. Fit, comfort, sound isolation is all pluses in my eyes. Again, nice work Dita!

Drivability​

The Dita Project-M is rated with an impedance of around 32 ohms and a sensitivity of 107 db’s. What this translates to is an earphone which is fairly sensitive. This also means that most sources can drive the Project-M. However, I most certainly feel that a source with some good output power will drive the Project-M to their best fidelity. This is one set that really does come alive with more power. I used so many sources and gear in this review folks. I used about 10 different dongle dacs, Bluetooth dac/amps, dac/amps and daps and found that closer to neutral sources to slightly warmer sources seemed to pair best. For me, my Shanling M6 Ultra was a wonderful synergetic pairing. I also love the Fiio Q15 with this set. The Aful SnowyNight was also a great mobile option on high gain using the 4.4 port.

What should you use? ​

I have a nagging suspicion that anyone looking to purchase the $325 Dita Project-M will also most likely have some robust and powerful sources. I don’t want to assume though. However, most folks seeking out +$300 iems will usually have at least something on hand that is reasonably talented sound-wise. I found Project-M scales very well with power. As in, there’s a good difference between less and more. Using the Shanling M6 Ultra on at least medium gain was good but I used it mostly in high gain. The Fiio Q15 is the same story. I found that the Project-M tightens up a bit and the dynamic range seems to extend a bit. Macro-dynamics are perceived to open up and become a bit more expressive too with more juice. Is this mandatory? No, of course not. The Project-M still sounds nice on lesser powerful sources. I just think this set scales well (to a degree) and I’d be remiss if I didn’t explain that.

Sound Impressions​

Quick look at the sound​

Finally, we get to the sound. It is usually a chore getting to this point in any of my reviews, but I found this one was a bit different. I was joyful through the whole process of discovering this set. Still, it is the sound that we are here for in the end. The Project-M are almost perfectly neutral with subtle shades of warmth down low and hints of brilliance up top. Maybe an ever-so-slight V-shape. I could see folks describing this as slightly U-shaped as well. I actually probably lean more towards U-shaped. What I hear is a transparent sound with slightly dialed back dynamics but a very clean sound that satisfies each area of the mix in a beautiful way. Each 3rd of the mix is precisely tuned to bring out each area’s sonics in a clean and monitoring type style. Even though I hate to call it that. There is such a melodic quality that “monitor-ish” doesn’t do it justice in my eyes. There is no one area of the mix which overtakes another. The balance is wonderful!

Neutrality​

Like I said, the Project-M comes across close to neutral and so you should expect what comes with a clean and clear neutral presentation. It also comes across with pretty precise transients with nicely etched note definition. In my opinion, listening with the Project-M bad recordings will sound… well… not perfect. However, better recordings or files will come across “seemingly” exactly as the author of those files intended (as though I know the intent of the artist, sounds good though). This may or may not be a good thing. Having said all of that, this doesn’t mean that the Project-M is without some dynamic and vibrant energy. Dynamics are there in its’ neutrally balanced way. You simply won’t have a ton of color emphasizing the spectrum. You simply don’t have spruced up and elevated kinetic dimineundos or dynamic contrast that comes across generally more “fun”. Still, I’ve had a ton of fun listening to the Project-M. I suppose it all comes down to what kind of “fun” were talking about. I hear neutral, measured, balanced, tight, swift, and solid. In no particular order.

Pint sized look between the 20’s ​

I add this section for anyone who doesn’t want to spend a half hour reading my full review and simply wants to read a condensed version. Granted I cover a whole lot more past this section but, I get it. Not everyone wants to read a book. Here is my pint-sized look between the 20’s.

Quick bass​

Beginning with the bass, it isn’t overly accentuated but yet it isn’t without density or rumble. The Project-M’s low-end won’t bring bassheads out of the woodwork. Definitely not for fans of big bass, but definitely for fans of quality bass. Slightly softer in attack. Not completely hard edged but dense in body with moderate levels of slam and good impact. I’d say the low-end is sub-bass focused but there’s only a slight difference in emphasis between the sub to the mid-bass. With my music library, the bass fulfills my satisfaction with an adequate level of intensity to bass drops, bass guitar, kick drums etc.

Quick mids​

The midrange is only slightly recessed yet with very nice presence, aided by the transparency of the sound. Note outlines are clean, defined and really sound great with good recordings. There’s even some shimmer in the upper mids too. Possibly a bit shouty to some but not at all to me. Note weight is slightly leaner but not dry to my ears, and there’s still good solidity to the sound. A natural note weight if you will. The midrange is very well tuned.

Quick highs​

The treble has very good extension, a little bit of glitter, some shine but also never fatiguing either. It’s tastefully tuned people! The treble has some bite to it and good body to notes as well.

Each area of the mix is accounted for and cared for. Nothing is oversaturated and nothing is a burden. Nothing veiled, grainy, sharp, too glaring or too sibilant. It’s almost like Dita knows what they are doing. Again, this isn’t necessarily the most “fun” replay I’ve ever heard but… define fun. Fun as in… big bass, bright treble, bombastic and energetic, color everywhere. No, it isn’t that, thankfully. This is maturity through and through. The stage is of a decent size, you have depth for layering, Imaging is spot on too. I find detail retrieval is well accomplished as well. Folks, I’m finding it hard to find any issues. I’ll be reaching in the “downsides” sections, just putting it out there.

Bass Region​

The entirety of the bass region fits comfortably with the overall tuning as it forms a perfect balance with the rest of the mix. I don’t find the Project-M bass region to be overly colored or accentuated and I also don’t find the bass region very far forward at all. It kinda sits back existing in concert with the midrange and treble though still sounding hearty and full. I’ve said this a few times but, if you are a basshead and desire big, booming, and earth-shaking bass, you may not want to spend the $325 to own this set. This doesn’t mean the low end cannot get guttural enough, and it doesn’t mean that it doesn’t get boomy enough. The bass does have some meat to it. Just not so much that the rest of the mix bends to its will. Nothing is masked, muddy, or bloated. Basically, the bass cast shade over the rest of the frequency, unless the track you are listening to is literally recorded as such.

Sub-bass​

The lowest of the lows comes across with plenty of rumble for those folks who don’t necessarily desire that full sonorous & resonant sub-bass expression. However, I hear decent density in note weight and body, but it simply isn’t over cooked or noticeably over-enriched down low. Again, not for bass bois, not for bassheads, and not for those who enjoy an ultra-deep and fun sub-bass. Now that I’ve got that out of the way… the sub-bass is great. It’s tight, condensed, very well extended, solid enough to give bass guitar that growl and speedy enough to navigate just about any track you throw at the Project-M. The leading edge of attack isn’t rock hard and crystalline, but it is very well defined when a track calls for it. I’ll say this a few times: this is a “quality-trumps-quantity” situation. Without question. “Take on Me” by Weezer is a remake of the classic ole’ school 80’s jam. This track begins with some pretty hefty and very quick kick drums. I should feel these drum hits if the sub-bass is worth its salt. Thankfully I do feel a moderate and very tight drum kick with a nice impact too. I also hear a very clean drum kick too. Nothing fuzzy or pillowy to the Project-M down low. “Groove” by Ray Wylie Hubbard is another track that is a nice barometer for deep rumbling sub-bass. The Project-M sounds just as dirty as it should sound. Perhaps a hint less deep haptic reverberant buzz but the timbre is great, and Ray’s deadpan vocals are very clear and clean amongst that bassline.

Mid-bass​

The mid-bass is only a touch less emphasized than the sub-bass. No doubt this is done to keep a cleaner midrange, but there’s still enough boom and slam for hip-hop. That’s obviously a debatable statement though. Bass guitars are maybe a bit reserved as far as fullness is concerned, but I don’t think anyone is going to complain. This is a transient quick and clean lined mid-bass that behaves how it is told to behave from the track that is playing. Again, quality trumps quantity and does so in a very mature way. There is something to be said for a clean and well-defined bass. Almost as though the impact of the mid-bass comes through clearer and with better presence when the bass has more room to operate and defined note edges. The mid-bass also has a nice and moderately meaty bass drop for fans of hip hop, like in the track “All My Life” by Lil Durk. When the bass drop occurs, it is perfectly outlined against the rest of the melody but yet it also sits even in the sound field. The bass drop isn’t forward or bulbous but is still convex enough and rounded in its overall sound. Decay is pretty rapid too, for a dynamic driver.

Further thoughts on the Bass Region ​

One further point about the low-end is that it fits the overall tuning very well. For instance, listening to Andrew Bird‘s track “Mancey” the bass guitar is literally pancaked between the rest of the instruments, and it comes across remarkably noticeable and full in its note body with a deep drone and a nice density. However, I love that the bass guitar overtakes nothing else and nothing else overtakes the bass guitar for dominance in the mix. Everything exists in the same field of sound harmoniously. There is a precise nature to the low-end without losing the atmospheric vibe of a dynamic driver’s natural decay. It’s just nice folks.

Downsides to the Bass Region​

Without a doubt the number one issue that people within the community may have is the the quantity of the bass region. It is well extended and meaty enough but simply not what I would call “fun” per se, and it certainly doesn’t warm the rest of the mix. Im sure that bassheads won’t enjoy it too much. However, I do feel that is a smaller segment of the audio community and generally most fans of actual quality bass should really enjoy what Dita was able to accomplish for the price. I enjoy the replay of the low-end quite well. I’m able to hear my music in a different way (to a degree) than how I’ve heard it of late. Every area of the mix seems almost perfectly portioned and the bass is no exception. Each is a supporting role with no lead actors. The bass is simply one perfectly formed leg of a three-legged table. Okay that was a weird example, but you get the idea, I’m sure.

Midrange​

The midrange incorporates most of the instruments we hear, vocalists too etc. On the Project-M I find this set to really do a nice job of keeping a very crisp note edge without sounding coarse or grainy at all. The sound in the midrange is clean and with pinpoint control and only a few issues to note. Note weight is rather lean as there really isn’t a whole lot of warmth to color or bulk up the sound. The mid-bass doesn’t really encroach into the midrange at all which leaves the presentation sounding more refined and defined. I don’t hear a great recession of the midrange as there is very good presence within the mix. Like I said, the sound has a nice balance that is very appealing, and the midrange follows suit perfectly. Again, note weight is not the most robust and there are hints of sharpness in the upper midrange. Still, as a whole the mids sound musical and melodic but yet very well detailed with good depth, a holographic stage and fantastic imaging.

Lower-midrange​

Looking at the low-mids, I find that male vocalists are a hint less organic and slightly less weighted than natural to my ears. Does this mean they’re bad? Absolutely not! Males sound fantastic actually. The note body is simply a hair leaner than what I consider perfectly realistic. Having said that, not many sets do this right and if they do, usually something else in the mix pays the price for it. No, I feel Dita did a great job here. Even within the leaner structure there is still solidity, or density. I feel most of this lean structure occurs because of the cleanliness of the region and the transient quick decay/sustain. No harmonics hang around long enough to blur the sound. Better said, harmonics don’t extend past their welcome. One track I always listen to in my “vocalist” Playlist is Chris Stapleton in the song “Higher” (and any other Stapleton track). There is something special happening here within the sound field. His voice is so melodic, almost euphonious as his mellow sounding inflection harmonizes perfectly. His voice is edgy at the crest of each note, but never abrasive like he can sound so often. This is a raspy southern voice folks and not every set can replay his voice perfectly in every track. I have too many tracks featuring male vocals where I drew similar conclusions, too many to speak on here. Just know this, male vocals generally come across very well in my opinion.

Upper-Midrange​

Females are usually, but not always, located near the upper-mids and for the most part the Project-M succeeds at providing female vocals that are both crystal clear and fairly energetic. I feel that Dita once again nailed the target they were shooting for. There is a nice mix of smoothness and technical capability which is very nice to my ears. The upper-mids are very cohesive with the overall sound of the Project-M melting naturally into the lower treble. Details in this area are easy to hear with fantastic clarity and great note distinction and resolution. Females do come across a hint lean but like the rest of the mix, I find the presence to be better than good. Clarity is really very nice too. It all comes together to make vocalists like Rhiannon Giddens sound as though her vocals are on a pedestal, forward, and emotional on the track “Who Are You Dreaming Of”. Or Taylor Swift in “The 1” from her Long Pond Studio Sessions album. Her voice is whispery sweet and soft with such a nice delicate smoothness to it. There’s an ambiance to the song and the Project-M is able to capture that.

A nice balance​

Now, there are certainly iems in this price range that specialize in the midrange. They specialize in vocals with accentuated midrange qualities. I found the Project-M’s balance of the frequency and technical proficiency doesn’t preclude it from being emotionally charged and musically gifted. Instruments come across nicely as well. Strings of all types of sound edgy without sounding coarse or abrasive. Percussion has just enough snap and energy on attack to provide a satisfying percussive hit. Snares have that nice “pang”, cymbals have good body too. Woodwinds sound great as well. The thing the Project-M does a bit different from other sets is it has the ability to position instrumentation on equal footing with everything else across the midrange. Nothing is overtly emphasized or over accentuated. I wouldn’t call any one area more forward than the next. Thankfully there is great space for instruments to operate with very defined and clean lines between instruments too. I find that the timbre is great, energy is nice, and the midrange has a nicely open feel to it.

Downsides to the Midrange​

If I were to come up with some downsides, I’d probably say that some folks will want a warmer and darker sounding midrange with better smoothness and thicker note body. Not everyone will want the Project-M’s rendition of the midrange. On the same note, some may want an even leaner, more analytical sound in this area. The truth is, nothing is for everyone, but I can surely see why many folks will adore this set. I also hear the faintest bit of sibilance from time to time, but it is so far and few in between that I don’t feel it necessary to make sibilance a “con”. Other than what I’ve spoken about another issue for some may be a slight lack in dynamism. The Project-M is not going to color the sound a whole lot and much of what you hear is going to be a result of the actual recording you are listening to. The Project-M will replay what is given to it and will do so by the book. With that all said, I think Dita did a fine job, I really do. The mids have fantastic pinpoint imaging with very good separation of instruments and voices. Like I’ve said a few times, the Project-M does a nice job of balancing a clean, resolute & detailed sound with a non-offensive, musical and even smooth sound at times. I’m impressed.

Treble Region ​

The treble is pretty special folks. I find the treble region to be nicely airy and open sounding with plenty of brilliance, but also, I don’t find it offensive or too sharp either. It looks like Dita tuned this set to walk that fine line. Instruments have good separation, and the timbre is close to natural throughout. Extension is another great quality on the Project-M too. As I’ve said many times already, the overall sound is balanced and even. So, there’s no great peaks which will add sharpness or any overly saturated areas of the treble. There is no forced resolution or forced details up top by emphasizing the treble above the rest of the mix. Having said that, I do feel the actual body of treble notes are clean, rounded, and have very nice placement in the sound field, for the most part. Let’s put it this way, I didn’t hear anything that was “off” to my ears.

Not bad at all…​

The treble region is also very dexterous and agile with a very speedy note decay which does cut off some harmonics to some instruments, but I feel this is a nice caveat to have. This speed really does help the Project-M in illuminating details in a natural way and not in a forced way. I love that. I feel the drivers are of very good quality on this set. Nothing feels forced folks. It’s just resolute, clean and timberaly accurate with enough dynamics and extension to keep things interesting. I wouldn’t necessarily call the treble region smooth or crisp either. I’d actually simply refer to it as natural. Which is kind of the running theme of this set. Imaging is also very well placed as there’s actual layering which occurs, as the depth is there to create some front to back distinction.

Examples​

Listening to “Bishop School” by Yusef Lateef is one of those tracks which isn’t recorded to the utmost of quality. This is something which comes across while listening. While the Project-M is more than able to keep up with this song in all its modulations of different treble activity, it still shows the scars of a bad recording. At least the file I have. However, listening to Billy Strings’ track “Secrets” the Project-M puts on a clinic of speed and timbre integrity all the while never skipping a beat. The Project-M sounds crisp when it needs to be crisp and does so with very nice timing and cadence.

Downsides to the Treble Region​

Honestly, I’ve had a hard time coming up with actual issues up top. I really feel it is a nice treble. However, this will not be for treble heads. As nice as the tuning is, it also isn’t overly accentuated and may seem to lack a bit of treble bite for some folks. The treble also isn’t overly punchy either. The beauty of this treble is its ability to remain cohesive and fit the overall tuning, along with some other great qualities. However, those who adore that energetic and vibrant type of treble that has defined note edges and brilliance throughout may want to keep looking. Having said that, the Project-M isn’t without brilliance either. Just toned down a bit. Altogether, this is a job well done.

Technicalities​

Soundstage​

The stage size of the Dita Project-M is certainly one of its strengths in my opinion. We have good extension in the sub-bass, good extension in the treble, you have good depth too which all equates to a soundstage which is above average in all ways. I find the width is outside of my ears which makes for a good and wide presentation. Height is average to above average as well. The midrange is a bit closer to the listener due to the nice balance across the mix and so I do feel that the stage is somewhat intimate in that regard. The stereo image is close, but also wide, tall and pretty deep. I find layering of instruments and vocals to be very well done. Even against some of the very nice iems in its price point.

Separation / Imaging ​

Another strength. In fact, you might as well call all technicalities… Strengths. The Project-M does have an open sound. Plenty of space within the psycho-acoustically rendered sound field for instruments to sound partitioned off from one another to a degree. I hear nothing congested, or at least nothing that is overly cramped. Obviously in more congested tracks things will come across a hair more pushed together though. I did hear some tracks that gave the Project-M a run for its money, and I did sense some slight blending of sounds. That said, most sets will sound the exact same way in those tracks. I feel the Project-M does an admirable job of creating compartmentalized regions within my mind space. Imaging follows suit wonderfully. Nothing is off to my ears. Left to right and front to back is well delineated placing the elements on the stage in precise locations. Of course, some tracks are better at showing this off and some genres are more apt to have better imaging too. However, in the grand scheme of things the Dita Project-M does very well in both separation as well as imaging.

Detail Retrieval​

I’m sure you know what I will say here. The Project-M does an above average job of providing good detail retrieval across the spectrum. Whether you are looking at the bass, midrange, or the treble region. Again, we have good space, clean lines, great resolution, faster transients, proper placement of elements on a stage, and the sound is very well balanced. In my opinion, these are all ingredients for good detail retrieval. The best part is that Dita tuned this set in such a way that doesn’t necessarily sacrifice musicality for technical abilities. Not completely anyways, the Project-M still has a very melodic and emotional quality to it.

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Final thoughts on the sound​

I don’t usually give a “final thoughts on the sound” section, but I wanted to today so, bear with me folks. The Dita Project-M is simply impressive. Still… despite that, there will certainly be folks who don’t jive with the sound. This isn’t the most energetic, dynamic or outright fun sound. You don’t have that big booming bass. Nor do you have an electric treble region full of sparkles and shining brilliance. Not everyone is going to want to fork over $325 for such a tuning. With all that said, I feel this set is very mature. Front to back, top to bottom… Dita put on a clinic folks! To be 100% honest, I don’t think I’ve heard such a tuning within the price point, on any set. Of course I haven’t heard em’ all. The balance that I keep speaking of is almost off-putting at first. It took me a while to really engage and find the beauty of this sound. Let me not mince any of my words though, the Project-M is a fantastic iem. Truly. I feel that Dita covered all bases sonically. Every way you spin the Dita Project-M is great. Whether it’s the build, the design, the unboxing, or the sound. It’s all very well done. I salute Dita and now… I have to try out some more of their iems! Nice work.

Is it worth the asking price?​

The big question. This will always be the number 1 question asked, other than if there are better sets “at” or “around” the price point. Let me answer that fast and decisively… Yes, it’s worth every penny that Dita is asking and no, you won’t find a set like this at the Project-M’s price point. Not that I’ve heard anyways. I have not heard them all. However, there are a huge swath of folks who have to save up a very long time to afford something this expensive. It’s just the truth. To those people taking a risk on a tuning that isn’t a “run o’ the mill” type sound is pretty anxiety inducing. They could take my word for it, but that is risky. I’ve been able to spend over a month dissecting this sound, soaking in it, trying a ton of different sources, like a kid in a candy store. So, I understand wholeheartedly if you are the type who’d want something with a more popular sound, more fun, more dynamic. With that said, I cannot responsibly say that the Dita Project-M isn’t worth the asking price. It’s 110% worth that price folks.

The Why…​

Because the Dita Project-M has a fantastic unboxing with great tips, a dope and totally unique carrying case and one of my now…favorite cables. Love that cable. To add to that, the build is beyond exceptional. Do you know that not one bubble appears in that crystal clear resin? It is so perfectly transparent that I could probably use it as a magnifying glass if I tried hard enough. It’s perfect folks! The driver inside is so sweet looking, the shape is so different from anything else on the market and I’m not even at the good part yet! My word! Folks, the best part of the Project-M is undoubtedly the sound (if it aligns with your preferences). Each area of the mix is accounted for, each is a perfectly measured and weighed part to a wonderful whole. Each section (bass, mids, treble) has its own unique characteristics that blends cohesively with each other in the most natural way for the price. Granted, you could spend a lot more money and yes, you will find something better. But friends, the Project-M costs a mere $325 with one of the best warranties I’ve ever heard of. Dita gives you a 10-year parts or replacement warranty! What?! It’s a no-brainer if you can afford it. In my opinion anyways.

Set apart​

Now, there are some absolutely phenomenal iems priced around the Dita Project-M. I have a few in my collection. However, none of those gives me exactly what the Project-M can give. In my collection, I certainly have some more fun iems, even better technical iems. I have sets that do a better job at vocals, at rumbly bass. I have sets that offer better detail retrieval and they all cost around the same price, give or take. What they don’t always have is that crystal clear balance where all elements of the stage operate apart from each other in the sound field, yet cohesively merge in such a Technically Musical manner. Definitely check out other reviews, I am certain not everyone is going to feel as strong as I do about this. Without question some reviewers will be less enthusiastic. Again, I cannot responsibly say to any of you that the Project-M isn’t worth the money they are asking.

Ratings (0-10)​

Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Dita Project-M ratings below, that would be $300-$350 hybrid style iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $300-$350 US is not the largest scope of iems, and so seeing a 9 is reasonable depending on the set. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.

Aesthetic ​

–Build Quality: 9.8 Built exceptionally well.

–Look: 9.9 Is this the best looking iem in its price point?

–Accessories: 9.6 Very nice unboxing.

–Overall: 9.8

Sound Rating ​

–Timbre: 9.5 Within the top class in timbre.

–Bass: 8.8 Quality over quantity.

–Midrange: 9.4 Very resolute with great presence.

–Treble: 9.2 Sparkly with nice extension.

–Technicalities: 9.4 Technically a fine set.

–Musicality: 8.6 Fantastic musicality for the tuning.

–Overall: 9.2

Ratings Summary:​

Remember, these ratings are all opinions folks. In fact, this entire review is an “opinion piece”. Please try to take this into account because I don’t want to lead any of you wrong. Remember, the breadth of my understanding about audio may not be as great and vast as some other reviewers. Shoot, it may be a lot vaster too. We all haven’t been down the same journey through audio. This is so important, probably the most important difference between reviewers. So, these are my opinions from my perspective, and I stand by them. At any rate, the ratings above are tallied against other hybrid iems between $300 and $350 US. That’s a good-sized scope of sets, but not so large that it’s going to push ratings down all that much. You see a lot of “9’s” above. Maybe the most I’ve put on a set until now. The ratings that aren’t “9’s” are also pretty damn close. I don’t feel there is a whole lot to explain here as the ratings are self-explanatory, but there are a couple that I may have to explain myself on.

Explain Yourself! ​

I have to start with the bass. A “8.8” is actually a high rating for something that isn’t the most convex and quantity isn’t the most emphasized. In fact, I could use a bit more to be honest. However, this is such a tactful and precise bass region that has good density, it’s speedy and is very agile and clean. I was actually going to rate it much higher, but I thought about the quantity. It needs just a touch more. Of course, that would impact the entirety of the rest of the mix, and possibly throw the beauty of this set (balance) out of whack. You’d then have to tinker with the pinna rise or treble and… “8.8” is good enough. The bass is good enough. Another area where I’ll probably get some private messages from some of you (I always do) is in the “Treble” Rating. I gave this set a lofty “9.2”. I know treble heads will be thinking I’m nuts. However, I stand by it. Timbre up top is nice, great extension, separation, Imaging and enough brilliance to bring openness and airiness to the overall sound. Every rating above is debatable but I do stand by them all.

Conclusion​

To conclude this full review of the Dita Project-M, I want to thank the amazing folks at Dita Audio as well as YouTube’s Ted Superchonk for providing the Project-M in exchange for a full review and feature at Mobileaudiophile.com. I have been more than happy to spend time with this set folks. Of course, this is just a tour unit and so… off it goes to the next person in line. What a bitter-sweet reality of tour units. Anyways, I have been honored to check out this set and had a great time giving my opinion on it. So, thank you Dita! Folks, I couldn’t be more impressed with Dita Audio as a brand. They seem to have an obvious love for music. Do you know they have a room built specifically for listening to music to give a reference for their engineers and sound technicians to almost re-calibrate? The emphasis on music is something that I love to see. But the standard they represent is just as awesome. Every move they make has a purpose behind it. I over romanticize everything, but I think I’m being pretty conservative when I say that Dita Audio is next level and I’m so glad they decided to create something that is more accessible to more people.

Other perspectives ​

Please check out other thoughts of the Project-M as not everyone is going to have the same feelings towards this set. We are all very much different as each of us has different tastes or likes and dislikes. We may have different gear, different music libraries, our hearing isn’t always the same and like I stated earlier, we haven’t all been down the same journey in audio. The point is, we all perceive music differently. So, do yourself a favor and read, listen to, or watch other thoughts regarding the Dita Project-M. That’s it friends, take good care, stay safe and always… God Bless!

​

Introductions & Caveats

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

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

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

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



A bit about me...

I worked in the consumer electronics industry for a large part of my career, and have been passionate about music and technology from as far back as I remember - even as a small child asking my Mum to put records on the turntable (Abba, Supertramp and Planxty if anyone is curious )

My music preferences are very varied - anything from classical to techno, indie rock to jazz and all in between. In my early teens I was a big fan of bands like The Cure and The Smiths (still am all these years later), and I was bitten by the dance music bug that arrived in the early 90s where I became hugely passionate about genres like techno, house, trance and IDM - I amassed a huge collection of records and CDs, DJing with the former at various parties and occasional pirate radio station slots - a hobby at the time that I never took further, but still own 1000s of records and my trusty Technics 1210 turntables are still going strong 30 years later, a testament to the Japanese engineering!

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



About DITA (from the DITA website)

DITA Audio builds products embodying a quest for the sublime, based off the premise that a well-crafted product is an experience in itself. Beyond the realm of audio, DITA looks to engage partners and clientele with a curiosity and passion for complete design integration and execution. Driving collaborative ventures in the fields of design, engineering and manufacturing to that end.
Established in 1971, DITA's parent company, Packagers Pte. Ltd, possesses 49 years of research and experience in automation and engineering: Treasured and translated into the uncompromising commitment to craft imbued within every DITA product.

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



Project M Specifications

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


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





All contents:

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

Design & Fit

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



Cable

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



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





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



Listening Impressions

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



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



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



Bass

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

Mids

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

Treble

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

Technical

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



Test Tracks

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

Andrew Tasselmyer - Illusions Become Form

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



Innertales - Odyssee

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



Pachangaboys - Time

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



Slowdive - Star Roving

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



The Dead Texan - La Ballade d'Alain Georges

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



Pye Corner Audio - Warmth of the Sun

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



Agnes Obel - Aventine

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


Eschaton - Gateway

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



Comparisons

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

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



Conclusion

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

Introduction
Ah Dita… it has been a while since they have been on my radar, falling silent for quite some time. For the uninitiated, Dita is a Singapore-based IEM maker specializing mostly in producing single dynamic masterpieces such as the Dream and most recently the Perpetua. They have been around for more than a decade and have made a name for themselves with the Answer within the head-fi community. This IEM, which I can still remember auditioning in a quaint local audio specialty store named Egghead, catered to a specific niche that favors a V-shape tuned, high-resolution and technical showcase of a dynamic driver thus setting it apart from other single DD sets such as that time’s Sennheiser IE800 and Beyerdynamic’s Xelento. They have been releasing some few lesser known, lesser-marketed ‘projects’ left and right during this timeline, though just recently they have cooked up one that would seem to crack outside that niche with their first-ever hybrid IEM and yes folks, we are going to be taking a look at the aptly named Project M which promises to redefine our imagination of what a mid-tier $300-$400 priced IEM can achieve.

Special thanks to a certain Levin Rabanes and Kenneth Koh for arranging this local review tour and for giving me the opportunity of an early in-depth experience.



Packaging and Inclusions
The Project M comes in a box with a slipcover indicative of the brand / specs. Upon opening the inner black box, you are then welcomed by some documentations detailing Dita’s cool history, a warranty card, and the pleasant presentation of the IEMS themselves along with the case (named the Systainer® manufactured by Tanos, Germany) which houses the cables and termination adapters (3.5mm SE and 4.4mm BAL), and lastly 5 pairs of Final E Type glow-in-the-dark eartips housed in its convenient clear container. The Systainer seems like a non-orthodox design but feels lightweight yet durable and is a nice touch to the overall concept. I am putting the link down below for a visual unboxing, please check my video here -
Unboxing - https://youtu.be/JAJsFNccEgA





Build
Out of the gate, I’ll just go ahead and say it – these are the most beautiful application of clear resin shells I have ever witnessed. Better (if not on par) than the Moondrop S8. You can clearly see the meticulously engineered internals, as Dita is known to pride themselves for creating and overseeing their products from the ground-up. Striking that perfect combination of looks and minimalism without compromising sound, this set looks to be a testament to that philosophy. That slow-pour, transparent resin mix really do standout and feels truly solid while being elegant and not plasticky. Not to be outdone, they match the IEMs with customized cables equipped with “MOCCA,” which utilizes conductors made by CARDAS (which is a very well-known US cable company). These cables, terminated in 2-pin, look and match the IEMs aesthetics as well as being soft to touch, maintaining its shape around the ears while having no microphonics at all. It is also worth mentioning though that the 2-pin port is visibly raised (kinda like QDC but not) and the custom cables are designed to accommodate for that. You may be able to use other 2-pin cables with the IEMs themselves but you may not be able to use the stock MOCCA cable on other sets, at least without a bit of fiddling or mods. Lastly, it features what they call the Awesome Plug2 with interchangeable adapters of 3.5mm SE and 4.4mm BAL terminations. These adapters are placed via a screw-on outer sleeve before plugging in, giving it an extra feeling of durability and stability. All these premiumness at the mere cost of a mid-tier set should make other companies rethink how they use up their production costs, putting them to shame.


Sound
As per usual, I will purely talk about sound subjectively as I perceive it to be and will leave the graphs to the measurebators. Of course, I always consider how it will appeal to other listeners as well. Right off the bat, Project M for me is a remarkable listen and carries the Dita house sound in all the right places while giving it an extra appeal to casual listeners. If I have to describe Project M’s overall sound in adjectives – it would be engaging, emotive, and captivating. To me it sounds like a near balanced v-shape though I do understand that it might also come off as neutral-bright to some, what I do find though is that the mids seem forward, intimate and not recessed all the while maintaining clarity and articulation. It is no vocal specialist though as it seems to strike a delicate harmony, if not lesser, across the frequency range. The bass comes in with a commanding sense of quality rather than quantity, as the lows are tight and punchy with enough slam, not lacking in rumble. What impressed me though is the treble, which evidently is quite airy. Highs are well-extended beautifully with some crisp sparkle up top. I just love my cymbal hits and shimmers as they sounded right and inviting. Some may find them bright but they are definitely not sibilant. Its PM1+ 9.8mm dynamic driver handles the full frequency range with such finesse while the BA acts as a supplement tweeter for air extension, adding a bit of breathing room and space to the overall sound.


Comparisons
If you ever find yourself thinking of getting the Moondrop Blessing2 or Blessing3, I would outright tell you that the Project M is the better product across the board from build quality, overall package, to sound. At a similar price range of around $300, the Project M sounds more engaging, livelier and never boring. Quite obviously, it has a thicker midrange compared to the two Moondrop offerings especially if, like the majority, find the mids of the Moondrop offerings somewhat lean. The Moondrop Variations at around the $500 range may have some differences here and there as some might find its tuning better but the majority may find the Project M for engaging. The Variations and Project M do share quite a similarity - which is the delicate balance of frequencies according to their achieved tonality. It also shares some characteristics, notably its treble airiness, with the AFUL Performer 8 but as the P8 aims for being a neutral, non-fatiguing yet detailed listen, the Project M makes the most of its ability to be dynamic and exciting, bringing emotion to your music at the cost of sheer resolution - handing that advantage to the P8. Lastly, as an analogy comparison to their brand’s most recent IEM which is the Perpetua despite the cost difference – if the Perpetua is meant to present the DITA sound in an authoritative and grand way then the Project M is meant to present it in an exciting, inviting and non-intimidating way.





Conclusion
So why the 5-star rating? Project M is such a carefully thought of and well-executed package overall – from every subtle detail of its design, the great fit, and the meticulously formulated engaging sound – it aims to be likeable and not offensive to both casuals and audiophiles alike. The feeling of luxury and pride of ownership just exudes with the Project M, proving that a company does not need kilobuck price for production costs to come up with a great cohesive, holistic product… just the will to show that it can be done and DITA outright did it via their ground up development philosophy. Project M is just a testament to that and owning one just makes you appreciate the effort, pride and thought that went to its final concept at a mere $300 price range. Hats off to DITA and if you’re still reading this then it might just be the time to consider getting one as a daily carry.



Sidenotes:
IEM set has been burned-in for 48 hours straight before review. Listened via the Sony ZX-707, AK Kann Alpha, and Cayin RU-7 separately in both SE and BAL configurations with Final E Type stock eartips over the course of multiple genres across FLACs (16bit&24bit) and streaming (Tidal). I have to say this is not a hard-to-drive set and relatively good with most DAPs and sources though I did notice some average imaging and staging while listening via 3.5mm SE, focusing on the center akin to having a kind of crossfeed effect. Switching to the 4.4mm BAL termination noticeably spreads out the width with some breathing room from L to R. As of this writing, it is set to retail at SRP US$325.

Dita Audio has always been among my personal favorites.
I liked their moderately minimalist approach, their elegant packaging, their high-quality accessories, and, of course, their sound. Even though I didn't always use their IEMs, I followed the company's development with genuine interest. What has always attracted me is that there are no frankly unsuccessful or incomprehensible models in the range. So this company definitely knows how to make sound.

As a disclaimer, I can add that I am positively biased toward this company. Nevertheless, I spent more than a month with the model, so during this time, I was able to calm my excitement. It does not prevent me from evaluating the sound with a cold mind.

Recently, I have rehabilitated myself and returned to my collection several models of the company that give me pleasure even now. Among them, there are already classic sub-flagship Dream XLS and two limited edition models – Project 71 and Brass. The former remains for me not only one of the best dynamic IEMs but also one of the best neutral IEMs I have ever heard. That's why I still regret not being able to buy their current top-of-the-line. I recently got acquainted with it and plan to post my thoughts on it later.



Anyway, the combination of ergonomics, style and sound still touched some strings in my soul, and their models have stuck with me for a long time.
What's even more interesting is that in this era of various hybrids, Dita was, until recently, the last company to produce models with just one dynamic driver. Some people thought incredulously that a single dynamic driver couldn't sound good enough to justify the cost of several thousand dollars. But this is exactly the case when the minimalist approach fully justifies itself.

And yet, the time came when this seemingly eternal approach changed. Dita Audio has released its first hybrids. Without anything extraordinary, it's 1 dynamic driver complemented by 1 BA. But what seems familiar or even mundane to some people plays with completely new colors here. So today, we'll talk about Dita Audio Project M. IEMs that cost about $325, and this price tag contains so many things that many manufacturers should be ashamed of. IEMs that I was waiting for like few others.

Packaging and Equipment

On the one hand, compared to more expensive models, everything here is more modest. On the other hand, you need to be able to make this simplification so that it is almost not felt.
We have a small black box in front of us. It slides out of the supercover and has a luxurious embossed design that looks like fabric. It's really beautiful and not ordinary, even though it's a typical black color.
The main characteristics are placed on the supercover. Namely, the logo and the model name are in the large silver font on the grille's background, schematically showing the model's frequency response.

There is also not much information on the back. Only the main things. 1 DD + 1 BA driver, 9.8 mm DD size. The frequency range is from 20 Hz to 20 kHz. Impedance is "standard" 32 ohms, sensitivity is 107 dB. And in fact, the model combines well with various sources, not collecting noise from the outputs, but not requiring particularly high power either.
Inside the box, there is a booklet with detailed information about the current model, as well as the company's previous developments. And it has a slightly more interesting design, so it is noticeable that they have thought about it a bit. In fact, not many companies pay much attention to their history. And this cannot but inspire respect. For example, the name of the aforementioned Project 71 model refers to the year the company was founded. So it really has a lot of experience.
There is also a warranty card and the main content itself.
Everything is placed in cutouts made of foam material.

These are the IEMs, a case holding the cable, and a box with tips.



The latter are made by Final Audio specifically for the model. Among their features, they have a light, luminescent glow in the dark. So, if you listen to the IEMs on a sunny day or just admire their case in the light and then put them in the case, they will glow inside. However, to observe this, you can simply go into a dark room, as I did.

The Case

The case is a small gray Systainer3 container made by Tanos with the Dita logo on the lid. The case has an additional internal silicone lining, which, in turn, effectively protects the contents from damage, dust, etc. However, the case is not waterproof, as it has a hole in the back. The size of the case is quite small; it is about the same as the LPGT. It is a few millimeters thicker but slightly narrower and lower in height at the front. So, personally, I had no problems with fitting it in my jeans pocket.
However, it should be noted that this is still not as sturdy and shock-resistant as, for example, Pelican offers. But this case is noticeably smaller than the well-known 1010.
The internal volume is small but enough to fit IEMs and a stock cable inside.

The Cable

The company has always been famous for its non-trivial and attentive approach to cable selection. The previous models had silver or copper cables made by Van Den Hul, which were known for being highly unruly in terms of ergonomics but still excellent in terms of sound. So they were replaced by OSLO cables, which offered an unusual design with conductors impregnated with a special liquid.
Finally, together with the modern top, the Dita Celeste cable was released, which used conductors produced by Kondo Audionote – I hope one day I will have the opportunity to listen to it.

For the budget model, a special cable was made using a copper conductor made by Cardas, written on the jack. I don't think I need to tell you who this manufacturer is and why it is so cool. I only note that their Clear series has made a lot of noise among audiophiles around the world.

This time, the cable ergonomics does not raise any questions. It is not quite soft, like a rope, but still quite comfortable. It is white and covered with transparent insulation. The braid is a spiral of two conductors to the splitter and one conductor per channel above it. Moreover, one conductor also has a spiral under the transparent insulation. But, unlike conventional cables, you can't see the conductor strands – only a white coating. This is probably silk insulation, which is often used for external shielding of the lithium-ion conductor.

The notch, in the general style of the cable, does not touch or interfere and also does not pull the cable with its weight.
Two-pin connectors with molded housings for QDC connectors are used on the IEMs side. I don't know why the company decided to use this particular standard, but in defense of the company's decision, everything connects well and holds securely. The only criticism here is that the connectors are filled with plastic and are not very transparent compared to crystal-clear shells.



There are default molded temples made of transparent heat shrinkage. They do their job well, so even the absence of a tie to adjust the length is not very critical for me.
On the IEMs side, a special second-generation interchangeable jack system developed by the company is used. At one time, Dita was the first to do this for their cables. It was followed by many different attempts and visions to the point that now it has become almost a trend, even in budget models. However, even now, years later, I still like Dita's laconic solution because I have never seen a more compact, convenient, and reliable design.

In short, the second generation of the interchangeable jack system looks almost the same as before: an angled jack, a connection to a proprietary socket, and a threaded lock. But now the replaceable connectors are a bit smaller and more compact. The difference is small, but there is one. The complete system looks as solid as before as a regular angle jack. But now everything has become even more convenient and reliable.
The scheme is the same. You need to unscrew the metal housing that secures the jack to the thread, disconnect the connector, connect a new one – the guide element in the upper part will help you do this correctly – and tighten the lock again.
Here, I can only note the professionalism once again. Paying $325 for such a cable alone would not be a pity. And here it is in a set of headphones, which cost the same amount.

The only pity is that this system is now incompatible with previous jacks. And that there is no 2.5 mm jack in the package. On the other hand, I can understand it since the standard is gradually becoming a thing of the past.

Design, ergonomics and technical features

The shells themselves are a universal version of custom. The shell is made of acrylic resin of absolute transparency. This approach imposes a lot of quality requirements because any accidental bubble, etc., will be very noticeable. But everything is so perfect here that even the driver unit compensation hole is almost invisible.

What is even more surprising is that due to the minimalistic interior, the shell looks as if it is empty, as if it is carved out of a block of ice, and contains only the dynamic driver unit itself, which is placed at an angle to the plane of the faceplate. At that, the dynamic driver unit itself has the company's logo and is made in the recognizable style of The Answer Truth Edition models. I have to admit, it looks really extraordinary and beautiful.

At that, the DD is set up differently, as happens in most hybrids. It is responsible not only for the low frequencies but also for the full range. And, in order to make the high frequencies have a better extension, BA assists it.
And here, a natural question arises. Where is it if the case is transparent, but all you can see is the connector socket, DD block and a bent rather wide tube leading to the sound guide?

The BA is located just in the stainless steel nozzle. The DD housing is also made of it, and this is a deliberate decision to properly tune them and eliminate resonances.
The driver, in turn, is well integrated into the acrylic shell and looks like a single unit. There is a protrusion for attaching the nozzle, and a metal mesh also protects it.
Interestingly, there is a small, almost imperceptible compensation hole on the sound guide. It has the right place where it will not be blocked by either the tip or the ear.



All this is certainly interesting, but it does not give an idea of ergonomics. And everything is fine here. The stock medium-sized tips fit me perfectly and provided a comfortable fit that did not require adjustment to the shells, etc. The fit is rather average, but the sound insulation was even slightly above average for me.

SOUND

But let's move on to the main course – the sound.
Here, I have to say that Dita remains true to itself. We are looking at an almost completely neutral presentation that is detailed, accurate, and technical. This model sounds great if you don't mind monitoring sound that doesn't emphasize anything. And it's something that you can spend a lot of time with without worrying about anything sounding off. But this is in case you have an already established music library and a desire to hear the recording as it is.

If you are a streaming and modern technologies fan, then there should be no problems here, either. Usually, they do not show as high a quality as offline listening can provide. However, it's usually enough quality to enjoy the music if you accept it.

So it's a matter of how critical you are to the quality of the recording. After all, the IEMs play everything exactly as you would expect from a neutral model – conveying the bad as it is, but not emphasizing it, but just pragmatically separating compression artifacts from any effects, etc.
True or raw black is still difficult to listen to, but the grunge or lo-fi style of recording sounds quite authentic and expressive.

When it comes to combining with sources, using a somewhat simpler source is common. However, I usually tested them with higher-quality models. I can especially note the combination of the model with some devices, and I note that I did not come across any bad combinations. IEMs always show the nature of the recording and, of course, the nature of the source well.

Good combos were obtained with Acoustic Research AR-M2, Hiby R6 Pro 2, LPGT, ALO CDM, and LP W4. But if you like the neutral sound of the model, then the selection of the source becomes more of a matter of taste. The model is not very difficult to open and does not require special efforts from the source.



As for the selection of cables, it also has an influence. I am not convincing anyone; I am only saying that it is not a useless activity, and it is possible to get more from the model, as well as to shift their sound a little more into the warmth. However, I can easily stop with the stock cable and enjoy it.
Also, for my taste, the best are the stock Final Audio tips.

I can characterize the sound of the model as neutral, well-controlled, accurate, detailed, technical, and informative. With excellent speed, which is not typical for hybrid designs, excellent driver matching and overall sound coherence. The model has quite a lot of air and perfectly shows the features of the recording, remaining a great option to touch how your favorite recordings really sound. After all, it is often like a good dish that does not require additional spices.

There are no obvious accents on any frequencies. Neither a typical heavy emphasis on bass nor the midrange pushed forward. Only high frequencies cannot be called comfortable. They are also neutral, so the model may be harsh for those who are critical of this. However, this was never observed in my listening.
In addition, due to the lack of heat and additional weight, Project M may seem a bit dry, but I still can't call them exactly that. Yes, they are not fat. But are they dry? Not really. They are neutral, and they effortlessly adhere to this neutrality.

But they have one easy trick to overlook – a slight emphasis on the low end. A small one, I think, within a few decibels, no more. But this allows you to achieve neutrality without dryness, as well as a good punch in the low end, where necessary.

It also has a very relaxed and organic sound. The model reproduces small details of the recording well but leaves them as a part of the overall sound canvas. And the aforementioned ease gives the necessary lightness. It adds nicely to the naturalness by preserving the integrity of the composition but at the same time conveying many subtle touches that often go unnoticed in the sound of other IEMs.

BASS

There is not much of it, and it has almost no additional expressiveness. Everything sounds exactly as it is in the recording. Compared to many models, it may seem dry. However, this bass can be quite exciting if you like a neutral or close-to-neutral presentation. It is fast, very variable, textured, and diverse. The peculiarities of the musician's playing, the positioning of the strokes, and their textures, sizes, and character are well conveyed – excellent speed, control and definition.
However, when the recording is focused on the bass, it also sounds as it should. Expressive, massive, dense and convincing. But to the extent that the recording provides for it.

Interestingly, this detail and careful approach does not make the IEMs boring. On the contrary, if the recording emphasizes low frequencies, they provide a significant part of emotionality.
This is achieved because there is still a light, barely noticeable punch and added weight on the bass. It is easy not to notice it because most models, which even accentuate the bass neatly, give it a little more. So, Project M neutrality is not total. But it is not so much emotionality or added energy that it gives – no, it instead helps to open up the recording better and does not make the model sound dry. It also prevents the bass from sounding too light and getting lost in the recording.
Along with the definition, light and subtle fragments are also well reproduced. The bass has the necessary growl but does not make it too massive. So, where the part is cautious and atmospheric, gradually enveloping the listener, it happens naturally and organically.

From the description, it may seem that the model analyzes the record, transmitting only details. However, this is not the case. The details are indeed clearly and distinctly reproduced, but the macro is also at an excellent level, so the composition is reproduced holistically, naturally and multifacetedly without losing its musicality and emotionality.
It also passes the blast beat test perfectly, giving the necessary amount of weight and providing a wall of sound but leaving it with the necessary delineation and fragmentation, showing a series of individual beats.

At the same time, some of the metal sounds rather dry because it is sometimes recorded that way. On the other hand, low bass layers are clearly visible due to the rather smooth presentation. The midbass does not obscure them; if the recording provides it, you can hear it. Therefore, well-recorded metal – I mean well enough because audiophile quality is practically impossible to find here - sounds as it should. Expressive, massive, rocking, emotional and convincing. So, I easily choose Project M even to listen to some brutal, heavy and extremely technical recordings. Their speed, detail, and definition allow you to get what was intended in the recording without losing massiveness.

Finally, high-quality live recordings also sound good. They often deliver the right amount of emotion as well, thanks to the more natural and expressive sound of the drums compared to studio recordings.

MIDDLE FREQUENCIES

Perhaps this is the most interesting part partly because it is the most interesting part of many recordings but also because Project M is among those rare models that do not highlight, emphasize or accentuate this part of the range. This allows you to convey the features of the recording with the necessary attention to the recording, revealing them in a way that not all models can. On the one hand, it gives no one a head start. However, it perfectly demonstrates both the real skills of vocalists and various effects.

Even in comparison with some models that emphasize the lower middle more, giving more attention to low vocals, the musician has to use their charisma and the instrument itself. However, the good thing is that the vocals sound natural and open. This is especially noticeable in recordings of vocalists with, for example, baritone voices. It is very well articulated, but at the same time, light fades and reverberations, vibrato, which can be almost imperceptible with other models, are well transmitted. Finally, transitions up or down also sound not only effective but also quite organic. And when a vocalist does it, especially live, it sounds really cool. So does the fading of notes, touching the strings of an instrument, and so on.

All of this is often not useful information on its own, and some studio recordings deliberately remove these moments. Still, good recordings leave them in, making them even more realistic and natural.

In addition, this way, male and female vocals sound equally expressive and convincing, as required by the recording. At the same time, the model fully conveys the necessary depth, conviction and expressiveness, as well as the peculiarities of pronunciation and timbre of, for example, vocalists. Good detail also means good articulation to the extent that the vocalist has it. In addition, the vocalists' skills also sound very convincing. Thanks to the high-quality reproduction of the mids, it shows why a particular vocalist is so famous and recognizable. And it is, of course, not only a matter of characteristic timbre or manner.

Of course, strings sound good, too. Whether natural or electric. There is no impression that a cello is a slightly larger electric guitar.
In addition, the present detail prevents the bass guitar from losing at low frequencies. Still, when it comes to the middle, it also transmits, for example, an acoustic guitar, where a dense and loaded mix can almost completely omit it. For example, you can hear the blowing of air in wind instruments, which conveys their nature well and makes the recording more lively.

At the same time, good dynamics and realism make the recording quite expressive and exciting if it is recorded in this way.
However, as I mentioned above, for some people, vocals and mids in general, can sound a bit thin, as they don't add weight or expressiveness, instead focusing on conveying emotion with the means available in the recording. Therefore, the IEMs are a good model for those who like high-quality vocals or mids in general and neutral presentation.

HIGH FREQUENCIES

As I said before, it is difficult to determine where exactly the DD range ends and the BA range begins. By ear, everything feels as homogeneous and coherent as possible. On the one hand, the highs here are not smoothed out and not overly comfortable. On the other hand, I can't call them excessively harsh or sharp. They convey the necessary details and expressive textures, effects, fades, and reverbs, but even on rapid attacks, they avoid excesses. Thus, I didn't feel tired from prolonged listening, but I also didn't feel that the sharpness or detail of the high frequencies was unnatural.

On the contrary, there is a feeling of rich highs, which give a significant part of information and do it qualitatively, layered, precisely. The cable selection can slightly improve the black background, which makes the model an even better choice for recordings requiring high-quality high frequencies.
It goes without saying that this applies both to live instruments, where naturalness and realism are required and to something heavy or electronic, where the question is instead to convey all those fifty separate tracks that the director mixed into a single recording.

It goes without saying that high-quality tops also show the difference between different recordings, remasters, etc., well.
There is also good dynamics here. It is also present in the rest of the range, but perhaps it is more noticeable here. So instruments or parts of the background are not lost, even if they seem not so important, and at the right moment, their presence in the composition is quite logical. This also allows you to realistically convey the features of the recording, not just pulling all the details to the fore but carefully conveying their features and positioning. And, on the other hand, it does not violate the integrity of the composition; on the contrary, adding to its versatility.

SCENE

The model has a good scene, which shows the features of the recording well. This is especially noticeable when you are used to using random. Some tracks sound large and wide, with good depth, while others are purely chambered. However, it is noteworthy that in the case of the latter, the scene structure of the recording itself changes. Still, the edges of the scene do not become noticeable and do not create discomfort.

So, the width is larger than average. Of course, it can't compete with something top-of-the-line. Still, even when switching from better and many times more expensive models, I didn't have the impression that the IEMs openly give up in the width of the scene (as well as in other things).
The only thing smaller than the width is the depth. And this can be slightly improved with a cable.



As for the positioning of the instruments, it is quite realistic and accurate. Some instruments are literally slightly oversized, but there is enough air, so the images have excellent articulation and definition. At the same time, there is no feeling of excessive emptiness. The parts of the instruments are well-read, expressive, and logical and interact well within the composition, leaving enough space. There is no sense of compression or oversaturation.
The stage is built from the middle, providing the main focus for the vocal or soloist but without detracting from the merits of the accompaniment.

COMPARISONS

When it comes to comparisons, I won't be able to be very verbose because I don't have many models at hand. And almost all of them are different – more tasteful.
But let me try to give some brief notes.

Dita Project M vs. Oriveti OH700VB

These are almost entirely opposite approaches. The Dita model is much more neutral, technical, accurate and detailed. In terms of these parameters, as well as in terms of the structure of the scene, the length of the downward and upward range and its control, it leaves no chance to the competitor. It transmits what is in the recording.
Oriveti, on the other hand, interprets the recording in their own way, giving it more than enough weight, density, warmth and emotion. Instead, the recording is less technical, precise and more tube-like and rich. It is a model for relaxed listening when realistic reproduction is not the main thing, and it is enough just to listen to music and enjoy it.

Dita Project M vs. CA Black Star

This is where we can expect a similar approach. Both models are neutral, but if Project M slightly emphasizes the woofer, the Black Star goes beyond that, emphasizing the middle. More specifically, the lower middle. This gives more expressive and fleshy vocals. Especially male vocals. Moreover, it is both clean and extreme. It sounds expressive and convincing, but this approach leads to a simplification of timbres and textures, giving more body, weight, and expressiveness. This makes it sound denser and more expressive. On the other hand, the same recording on Dita demonstrates more restraint and less weight, but it sounds wider, more voluminous, more open and lively. Reverberations and subtle moments of the recording, which are leveled in the first case, flourish on Dita. This creates a slightly dirtier but more realistic sound.
At the same time, the Dita also demonstrates better detail and control across the entire range. This translates into a more accurate rendering of textures and timbres, as well as the peculiarities of the instrument. So, the background also sounds more accurate and convincing. But, of course, it is also much closer because no soloist is pushed forward. But male and female vocals sound equally convincing.

Dita Project M vs. Dita Dream XLS

Here, of course, there is no miracle. This is an example of the fact that the IEMs are practically the same tonally. However, the qualitatively older model is still more expensive for a reason. First of all, of course, it is even more neutral. And this is despite the fact that it was criticized for moving away from the neutrality of Dream and adding emotions. So, Project M has more emotions. At the same time, the details are somewhat less. As well as dynamics and depth. Because of this, Dream XLS can create more realistic and multidimensional images, better conveying their interaction and dimensions. At the same time, everything sounds technical, precise, and accurate, but it is even more realistic. Therefore, if you need a completely neutral model, then the not-so-new and not-so-top XLS still has something to offer.

CONCLUSIONS

I don't say this often because I've listened to a lot of things, and it's not easy to surprise me. Nevertheless, my expectations were extremely high. I love this firm and did not doubt that it would be good. But it turned out even better than I expected. That's why I'm saying this with a lot of ice, but I think Project M should cost a lot more. I'm willing to pay more for such a sound.
However, of course, when choosing, you need to take into account that this is a model that is close to neutral, so it is advisable to listen to them before buying.

Dita Project M

Disclaimer: This was a loaner unit provided in exchange for an honest review. No monetary compensation was given.

Not really one into previews, asking people to stay tuned, here are my thoughts on the Project M.



The Dita Project M is the latest release from Dita Audio with an SRP of $325. This a hybrid iem with 1 knowles BA and their PM-1+ Dynamic driver.



It’s pretty much a complete package and you only need a source of your own choice to enjoy these.

Unboxing these, you get a premium hardcase, Modular 3.5mm/4.4mm cable (cardas wired) together with the iems. A set of Final audio type E tips is included which glow in the dark. For this review though I used my own Final audio tips.

These iems are aesthetically pleasing, sturdy, and great as an every day carry.

The fit on these are great, soft edges all around and feels like it was custom fit to a degree.

On to how it sounds:

It’s not for bassheads. Bass here is detailed and Drums sound as it should but with less impact.

Mids are a bit forward, and there is an emphasis of the mid-high frequencies. What this does is it presents more details, images instruments well, good layering.

The highs can be a problem on certain tracks, which can be remedied using aftermarket tips. In this case, tangzu sancai tips helped.

Soundstage is slightly out of head. There is a good sense of space and they perform admirably well on busy tracks.

In summary, the Dita Project M combines exceptional sound quality with thoughtful design and accessories. One of the most aesthetically pleasing iems if I may say so.

With its sturdy case, premium cables and tips, and beautiful transparent shell, the Project M offers a complete package that delivers both sonic excellence and visual appeal. I placed an order on these

Thank you to our Local Audio Group admin and Dita Audio for this opportunity and dent to my wallet.

https://ditaaudio.com/products/project-m