Reviewer at hxosplus
The only truth is music
Pros: - Balanced, smooth and natural sounding
- Lifelike and organic timbre
- Open and spacious
- Three sound tubes
- Not devoid of technicalities
- Fatigue free listening experience
- Comfortable fit
- Excellent build quality
- Great modular cable
- Large selection of ear tips
- Quality hard carrying case
Cons: - Slightly lacking in dynamics
- Could do with more depth and holography
- Mediocre passive noise attenuation
- Not very tight fitting
- Q-Lock Lite modular plug doesn't inspire confidence
The Dunu Falcon Pro was kindly provided for the purpose of this review while it remains under Dunu's sole property.
Dunu never asked for a favorable review and as always this is my honest and subjective evaluation of it.
All links to be found below are not affiliated and I don't get commission by clicking on them.
The Falcon Pro is available from all authorized dealers and the price is $219,99.


Product highlights

10mm ECLIPSE dynamic driver

Following the trend of the single dynamic driver resurrection, Dunu designed the Falcon Pro, a dynamic driver iem with a newly developed 10mm ECLIPSE dynamic driver unit.
It adopts an Amorphous DLC (Diamond-Like Carbon) Dome and fully independent suspension surround sound.
The driver features a powerful magnetic system that produces a powerful magnetic flux of up to 1.6Tesla allowing for the swift, smooth movement of the diaphragm coil.
There is also a dual-chambered Resonance Control with Multi-Path Airflow Damping.
ECLIPSE is a DUNU’s patented technology where the dynamic driver is designed with the best quality materials providing full-range support with quality detailing and high-resolution clarity.
The Falcon Pro driver is specially designed from Dunu and it costs at least five times more than the usual OEM drivers that are usually used in this price category.


Full technical information and specifications are available here

Replaceable tuning nozzle design

Falcon Pro has a replaceable tuning nozzle design which allows the users to adjust the sound output as per their taste and preference.
The pair comes with three different sets of replaceable nozzles, one for "transparent" sound, one for "reference-grade", and one for "atmospheric immersion".
Judging from the size of the nozzles, the "transparency" is equal to the so called "treble emphasis" nozzle and the atmospheric immersion to the "bass boost".


Modular cable design and quality

The DUNU Falcon Pro comes bundled with a high-purity 6N Silver-Plated OCC Copper Cable with the self-patented new Q-Lock Lite modular plug system.
This is advertised as a newly developed system for robust reliability without breaking the bank.
Falcon Pro comes bundled with a full set of 3.5mm SE, 2.5mm Balanced, and 4.4mm Balanced termination plugs in the package.
The cable has catch-hold MMCX connectors for an easy and stable connection with the earpieces.
The cable is of good quality and offers excellent handling without microphonic noise.
The splitter and the jacks are made from lightweight aluminium and my only observation is that this new Q-Lock system doesn't look as sturdy and future-proof as the twist and lock alternative.
The female end of the plug snaps into place thanks to two tiny plastic lumps that fit into their respective holes on the male and I am not very sure about how many insertions can handle before wearing out.


Build quality and appearance

The Falcon Pro is crafted using a high-precision CNC machining process from shiny Stainless Steel material with mirror chrome polish and sandblasted logo motif frosting.
Build quality is excellent and I find it beautiful and classy, reminiscent of a much more expensive product plus they sit in the ear very discreetly if that is what you are looking for.


Fit and isolation

The ear pieces are compact and lightweight with an ergonomic shape so I was able to get a comfortable and stress free fit but not very tight so they wouldn't be my primary choice for active sports.
Fit may vary a little depending on the sound tube used due to the differences in height and diameter, so sometimes I have reached for a larger sized ear tip than my usual.
The Falcon Pro has an open design principle so passive noise isolation is not the best and they aren't very suitable for excessively noisy environments but on the plus side they can be used when you need to stay in touch with your surroundings.



The Falcon Pro comes bundled with a nice, green colored, semi - hard carrying case with a zipper, useful for everyday carry of the earphones and the accessories.
Speaking of accessories you get the modular cable with three plugs and three pairs of interchangeable tubes that are screwed on a small metallic card so you don't lose them.
Then there is a great selection of various silicone ear tips, 4 types with three sizes each, making a total of 12 pairs but no foam tips.
The ear tips came packed into small plastic bags without some kind of a sorting holder.
The accessories continue with a small fabric storing pouch, a microfiber cleaning cloth, a cleaning brush, a 3.5mm to 6.35mm adapter and some spare plastic o-rings that are used to mark the different sound tubes.


Amping and related gear

With an impedance of 26Ω and a high sensitivity of 112dB/mW, the Falcon Pro is easy to drive and can get pretty loud from mobile phones.
Nonetheless I strongly suggest the use of at least an entry level USB DAC like the ddHiFi TC35B or even better because the Falcons scale well and they do need a quality source to unlock their full potential.
I have used a variety of high quality sources such as the EarMen Sparrow, THX Onyx and FiiO M11 Plus.


Sound impressions

Sometimes, while evaluating an earphone, it is very tempting for the reviewer to browse into frequency response graphs but I have found that this procedure can be deceiving and strongly derail my thoughts into the wrong direction, so I prefer to do my listening without letting measurements affect my mind.

The general sound signature of the Falcon Pro is that of a quite balanced earphone with a mild mid-bass emphasis that adds a welcomed warmth and a natural instrumental timbre without manipulating the sound too much.
This is an iem that prioritizes tonality and texture over excessive technicalities that nonetheless are not still missing at all.

One of my favorite tracks is this magnificent tune by Henry Purcell, ingeniously improvised by Christina Pluhar.

The double bass sets the pace and with the Falcon Pro the pitch is just slightly above reference, it sounds full bodied and controlled with excellent timing and a very tight pinching staccato.
Then after some clearly plucked chords on the lutes, enters the soprano, singing with her crystal clean voice that is portrayed with outstanding timbre and articulation, just a step in front of the orchestra.
Harmonics and overtones blend together in the most spontaneous manner and later on we can hear the shimmering high huts that fade away with the most real - like decay.
Then comes a delicious electric guitar solo, very engaging and musical, shining without being masked by the lower pitched instruments.
From the start till the end of the song the Falcon Pro sounds satisfyingly resolving but without being over-detailed, so we can enjoy micro details like the instrumentalists plucking the strings and touching the frets but we need to concentrate in order to do so since detail remains a part of the background.
The ambience of the recording venue is well communicated with a scene that excels in width and while it is slightly lacking in depth, it feels very open sounding with pinpoint imaging and ample space between the performers.
The Falcon Pro is one of the most open sounding earphones in the market with an airy presentation that rivals open back headphones.


I could invite you to listen to the whole playlist but let's be realistic and just share another classic track, the Sultans of Swing.
The bass drum is full and convincing, only slightly lacking in ultimate dynamics while high huts sound brilliantly shimmering and not thin or lifeless.
There is a great interplay between the electric guitars while the bass holds the rhythm in the background without clouding the song.
Knopfler's voice is engaging and realistic, we can hear all the shades of his tone as for the famous guitar solo; it is plainly addictive and electrifying, not artificially projected in front of the scene nor stepped behind.


The Falcon Pro sounds natural, organic and musical with exemplary coherency throughout the whole frequency range without overemphasizing any given part of it in favor of another.
This iem really shines in the way that it presents the unamplified instruments with the most realistic timbre and a surplus of harmonic wealth.

Sub - bass extension is not the deepest but there is no problem for the Falcon Pro to deal with bass heavy genres, just don't expect it to sound overly emphasized with a fully rumbling effect.
Bass is neutral with a pinch of mid bass emphasis that adds some welcomed warmth without clouding the mids or masking the bass line when it gets busy and complicated.
It is quite full but not too weighty, tight enough, controlled, clear and well defined with good layering and a convincing dynamic contrast.

The mids sound breathtaking and engaging, vocalists shine and sing in full glory with excellent articulation in an effortless and fluid manner but not at the expense of the other instruments that get their own share of the show, blending together with voices in a highly musical presentation.

Treble is perfect, a great balance between smoothness and agility, there is energy, transparency and extension so as not to sound dull or too dark but it never becomes bright and harsh.
Some of you are going to find the Falcon Pro lacking in ultimate extension and detail depth but then it was never meant to be as such, this is designed with the virtue of being forgiving and suitable for fatigue-free, long listening sessions.


Sound tubes

After testing the three sound tubes and the various ear tips I ended up using the "reference" with the purple ear tips as this combination yielded the best balance between the natural timbre I seek and the desired amount of technicalities.
All the tubes sound good and at the end it seems that each one sacrifices something in favor of something else.
There is no right or wrong here and individual preferences will determine which tube to use, sometimes you may end up alternating them depending on the song you are listening to.
As an example, the "atmospheric" tube due to the subdued treble gives the illusion of a fuller sounding bass but the narrower and short length adds some boominess to it, softening the dynamics and making it more dull.
In exchange we get more liquid and full bodied mids with even smoother highs.
On the other hand, the "transparency" gave better control over the bass, enhanced layering and more contrasted dynamics but mids became somewhat drier and while treble gained in air and detail it became a touch metallic and rushed.


Compared to the FiiO FD3 Pro

The FD3 Pro (review) is a 12mm single dynamic driver iem from FiiO featuring a DLC diamond like diaphragm and it comes with two different sound tubes and a detachable cable with interchangeable plugs.
The selling price is $149 so it is $70 cheaper than the Falcon Pro.

The FD3 Pro cable is a 8-strand 152-core Litz structure silver-plated monocrystalline copper cable and the interchangeable plugs use a screw lock system that is of higher quality than that of the Falcon Pro.

The included ear tips are a total of 12 silicon pairs, the same with the Falcon Pro but with the FD3 Pro we get an extra two pairs of memory foam ear tips plus everything comes nicely sorted and arranged in three plastic holding cards.
The Falcon Pro carrying case is of better quality since the FD3 Pro comes with an entry level plastic hard case.

Build quality is more or less the same and equally good for both but the Falcon Pro looks and feels much more premium and shiny.
Fit is good for both with the main difference being that the FD3 Pro sits more tight and snug inside the ear so it can withstand some head movement but the Falcon Pro is much more comfortable and stress free at least for my ears.

Both of them have venting holes so they are not the best in passive noise attenuation but I would count the FiiO as a little better in that respect.


Their tuning is slightly different and the FD3 Pro has deeper sub-bass extension and increased bass output that sounds more pronounced and full bodied, still tight and controlled although the presentation is on the drier side.

The Falcon Pro has a more liquid and sweet character to it and not only in the bass, while it presents the music in a more effortless and natural way.

Upper mid range is more forward on the FD3 Pro which is also cleaner and more detailed in the higher frequencies but a little thinner and rushed regarding the decay time.

Both of them are real champs when it comes to openness and width of the soundstage and they count in my book among the best options.

One last major difference is that the Falcon Pro has more natural timbre, finer articulation and better texture quality so it sounds lifelike and organic whereas the FD3 Pro has some kind of a monitoring quality in it's presentation.

Both are great and I count them as one of the best values in their respective categories, especially the plain FD3 edition and I see many users preferring the one over the other according to their needs.

At the end

After having some great time with the Dunu Falcon Pro it was not a difficult decision to award it with a full five star rating.
And this is because the Falcon Pro is a very enjoyable sounding iem with a natural, organic and lifelike timbre, certainly not devoid of technicalities, suitable for all kinds of music, including all shorts of classical.
This is an iem for people who seek a well balanced and musical presentation to sit back and enjoy without overanalyzing too much.
If you are interested in hardcore technicalities, ultimate extension in both ends, hyper detailed presentation or some kind of a specific tuning like emphasized mids then you should definitely skip.
For the rest it is happily recommended as a great value, mid priced iem with excellent build quality and a full accessory pack that is going to reward you with endless hours of musical pleasure.

Test playlist

Copyright - Laskis Petros 2021
Last edited:
Ace Bee
Ace Bee
Between the FD3 Pro and Falcon Pro, which one has deeper and taller soundstage? Also, which one soud more clean?
I think that I already mention it in the review.
The FD3 is a touch more clean and the soundstage is more or less the same.
Not much of a difference.
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100+ Head-Fier
Pros: + Great Build quality
+ Premium look and high quality build materials
+ Tight & detailed Bass
+ Good Imaging & Separation
+ Good amount of details retrieval
+ Good accessories
+ Different nozzle options
+ Modular cable system in affordable range
Cons: + Staging could be better - specially in case of atmospheric immersion it seemed to lack width
+ The shell is quite heavy and not ideal for long listening sessions
+ the quality of cable could be better
DUNU FALCON PRO :: ECLIPSE for the Affordable Range!


Summary & Objective:

Through the @DUNU-Topsound Falcon Pro - DUNU has made their ECLIPSE technology for Dynamic drivers available for the affordable range to the masses.
DUNU Falcon Pro comes with great build and premium looks and also comes with great sonic capabilities and performances. They have also made their popular modular connection cable technology available to the more affordable range through the Falcon Pro. It also comes with 3 different nozzles that provide different type of sound appropriate for different genres and addresses some of the sound preference differences amongst the audiophile crowd.



The @DUNU-Topsound Falcon PRO is the newest addition of DUNU in its ECLIPSE technology based drivers and coming at a more affordable range than ever before. It also comes with interchangeable nozzles and new Q-Lite modular cable system which allows people to have different experiences across different genres and also enables pairing easily across a variety of devices and sources.
The DUNU FALCON PRO is priced at $219.99.



This review unit was sent by @DUNU-Topsound for the purpose of an honest review.
Everything mentioned in this review are purely my own based on my experiences with the IEM.

Tech Features:

The DUNU FALCON PRO brings 3 types of new & different technical features into the picture:
1. The ECLIPSE Driver
2. Interchangeable Nozzles
3. Q-LOCK LITE modular cable connector system

1. ECLIPSE Driver:
Falcon Pro comes with DUNU proprietary 10 mm ECLIPSE Driver with Amorphous Diamond-Like Carbon Dome, Fully Independent Suspension Surround, and 1.6 T Magnet System which is explained by DUNU in the picture below:

2. Interchangeable Nozzles:
Falcon Pro comes with 3 interchangeable nozzles: Transparency, reference, & Atmospheric Immersion

3. Q-Lock Lite modular cable connection system:
Q-Lock LITE is a brand new modular plug system from DUNU.
Designed from the ground up for robust reliability without breaking the bank, Q-Lock LITE retains the best conveniences of our renowned Q-Lock PLUS quick-switch modular plug system and improves on cost effectiveness.
FALCON PRO is bundled with a full set of 2.5 mm TRRS balanced, 3.5 mm TRS single-ended, and 4.4 mm TRRRS balanced terminations, each fully compatible with the Q-Lock LITE system.
  • 1634395827822.png

Design & Build Quality:

The DUNU Falcon Pro comes with great premium looks with a polished stainless steel shell with DUNU logo etched across the edges. The dual chambered anti-resonance shell design facilitates the space for interchangeable tuning nozzles which bring in more flexibility for people who would want it. The shell being made of stainless steel though heavy but makes a comfortable fit in the ears. However, this extra weight can become bothersome for some very long listening sessions for some people. I however found it quite comfortable throughout the duration of the review.



The DUNU Falcon PRO comes with $219.99 price tag and the specifications are as below:



SENSITIVITY: 112 ± 1 dB at 1 kHz
IMPEDANCE: 26 Ω at 1 kHz

  • DIAPHRAGM: 10 mm diaphragm with amorphous diamond-like carbon dome and fully independent suspension surround
  • MAGNET ASSEMBLY: > 1.6 T External Ring-Type Neodymium Magnet

  • MATERIAL: Stainless Steel
    • Dual chambered, anti-resonance shell design
    • Interchangeable tuning nozzles (Atmospheric Immersion, Reference, Transparency)

LENGTH: 1.2 ± 0.1 m
MATERIAL: 6N silver-plated OCC copper
CABLE CONNECTOR: Patented Catch-Hold® MMCX Connector
PLUG CONNECTOR: DUNU Quick-Switch Modular Plug System (NEW)
  • 4.4 mm TRRRS Balanced
  • 3.5 mm TRS Single-Ended
  • 2.5 mm TRRS Balanced



DUNU falcon Pro comes with the following accessories in a nice package:
  • Brown pouch to hold the shells.
  • Green zippered case.
  • Ear-tips
    • 3 pairs of clear grey silicone tips
    • 3 pairs of black silicone tips
    • 3 pairs of black translucent silicone tips
    • 3 pairs of grey translucent silicone tips
  • Cable with Q-Lock Lite system
  • 1 cleaning brush.
  • Steel plate holding the 3 nozzles


Items Used for this Review:

@iFi audio Micro iDSD Signature, Luxury & Precision W2 Dongle DAC/AMP
DAP/Source : Cayin N6 Mk2 with R01 motherboard, Cayin N3 Pro
Streaming Source: QOBUZ
Ear Tips:
I've tried tip-rolling with a variety of tips including Final Audio E Series Black, Transparent Red, @SpinFit Eartip CP145 and JVC Spiral Dots. I've found JVC spiral dot tips to suit me preferences best and have used that mostly.


Tracks Used:
The tracks I have used can be found from the below playlist that I have used and generally use for most reviews... I would like to thank @Otto Motor for his contribution here.


DUNU FALCON PRO Sound Impressions in Short:

Story of the 3 Nozzles:

When it comes to sound performance, the different nozzles make some difference in the sound experience.
The 3 nozzles as follows: Transparency, Balanced & Atmospheric Immersion
My experiences with the nozzles are as follows :
  • TRANSPARENCY : widest staging, lower depth in staging, but less prominent mid bass
  • REFERENCE : very balanced sound with great staging with balanced width, height & depth. Bass slightly more pronounced.
  • ATMOSPHERIC IMMERSION : Deep staging however width of the stage have shrunk a bit. Mid bass more prominent
All 3 variations I found enjoyable each for a different genre of music... Balanced one seemed to suit all genres well.... below experiences are based on the default Reference nozzle.


The Bass on the Falcon Pro comes with good intensity of attacks but not very prominent. Bass has some muscle & texture and goos amount of details for the price range - thanks to the ECLIPSE driver. In tracks like : "Anna R. Chie (Remastered) - Konstantin Wecker" and "My Queen Is Ada Eastman - Sons Of Kemet" you can feel the the attack of the different instruments with enough details. I think the Bass is amongst the stronger traits of the Falcon pro with just enough depth. However, some may fell the want fot deeper and more prominent bass and intensified thump & slam. they can use the Atmospheric Nozzle in that case.


Despite the slight V shaped tuning of the Falcon Pro - the midrange is doesn't feel significantly recessed and feels very enjoyable. It is smooth & musical & comes with good texture but felt lacking muscle a tad bit. The vocals are natural and both male and female vocals come with good amount of details. Instruments sounded natural. In tracks like: "Porch Swing - Trace Bundy" and "Rickover's Dream - Michael hedges" while you will enjoy the overall midrange and you will just love the transients of the guitars, violins etc... instruments.


Treble is quite enjoyable and non-fatiguing. Cymbals sound natural and tracks like “Chocolate Chip Trip – Tool” sounded great and the track was very enjoyable.
The treble has enough details and texture and is quite commendable for the price.


The Staging is where it felt like Falcon Pro could use a bit more of it. Though the reference nozzle gives good amount of width & depth for the price range, IEMs of slightly higher price like the Campfire Auido Honeydew felt having much better staging than the Falcon Pro. The Falcon Pro staging is well defined for the price range. Tracks like: “ The Secret Drawer – Bela Fleck and the Flecktones” or “Bohemian Rhapsody (live aid) – Queen” sound good & enjoyable. However, this is not amongst the strongest trait of this IEM. Instrument separation on the other hand was good considering the price range.

Imaging & Timbre:

The Falcon Pro also comes with just good sense of positioning and imaging & timbre performances. Tracks like: “Rotterdam (Or Anywhere) - The Beautiful South “or “Hello Again - Howard Carpendale & The Royal Philharmonic Orchestra” seemed quite enjoyable with good imaging & natural timbre.



Quite a few IEMs had been launched recently by different brands having inter-changeable nozzle systems and new Dynamic Driver systems. Apart from DUNU Falcon PRO there is the @MOONDROP KATO and @FiiO FD3 PRO. Though the prices are different - the KATO MRP being $189 and FD3 PRO being $149, both of which are lower than the Falcon Pro - it just felt necessary to compare as they come with similar tech architectures.



The DUNU Falcon Pro comes at a slightly higher price than both the Moondrop Kato and the FiiO FD3 Pro. As all 3 of these IEMs come with Single dynamic driver and interchangeable nozzle architecture - for the simplicity of the comparison I've used the default nozzles for the below comparative experience.

Bass: While both the KATO & FD3 PRO had more intense attacks and more prominent thump & slam in the bass, the Falcon pro simply had more more details and texture in its Bass response. Hence for the Bass I would have the following preference.... Falcon PRO > KATO > FD3 PRO.

Mids: As all of the 3 IEMs had V shaped tuning - mids were slightly less prominent in all of them. Having said that - I found the KATO mids performance to be the least recessed and pleasing. However, the Falcon Pro had better muscle & texture which were somewhat missing in the KATO. the FD3 Pro were the least impressive.

Treble: The FD3 Pro seemed to have a slightly peaky upper mids & treble (which gets solved through the other nozzle) which were not the case for the other 2 IEMs. Here both Falcon Pro & KATO seemed to fare good with smooth treble performance despite a very slight peak in the KATO.

Soundstage & Timbre: Staging is where the Falcone Pro secures a big win over the others. The staging on the Falcone pro is more balanced with good width, depth & height while the KATO seems to lack in width and FD3 seemed to lack in depth. Instrument separation on the Falcon Pro was also better than the other 2 IEMs.


Conclusion :

The DUNU Falcon Pro is a great performer given the price range and comes with many differentiated features which give more flexibility of use to the consumer - in this case the audiophile. It is quite easy to drive and performs well with just any combination. It's overall good performance makes it easily recommendable for the price range.
@Abir I have not compared them.... if I get a chance to compare them all I will update here
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@asifur Would you recommend an iem which excels in technicalities without shouty or lean midrange under 250$
@Abir $250 range is a very crowded range & I don't think I have tried as many as one should to be able to come up with single clear recommendation
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500+ Head-Fier
A Forward Move Towards Origins
Pros: Dry, concise, precise bass, fast decay.
- Excellent treble tuning, linear and extended.
- Balanced and well-balanced profile, with a warm tendency and powerful body in its mid-range.
- Versatility of the filters.
- Very high level of construction and design, which gives it a great fit and ergonomics.
- Outstanding accessory set.
- Interchangeable 3-pin system, thanks to Q-Lock LITE technology.
- The price/performance ratio is near the top of the range.
- The Dunu Falcon Pro is a safe and easy bet for any amateur or advanced player.
Cons: Texture and descriptiveness limited in the low end, bass is smooth.
- Sensation of elements in the middle distance.
- Moderate warmth can bring more darkness than desired, especially with the "Atmospheric Immersion" filter.
- It has a limited analytical capability, which prevents micro elements from being revealed.
- The sound that escapes through the multiple holes can be annoying for the people around.
- Although the interchangeable pin system is very useful for everyone, I find that the anchoring is not that rigid, hard or secure. I miss some element that fixes the connection more permanently.

Who is Dunu? Actually, no need for introductions, because many of you will surely know this brand that has been creating professional and consumer headphone products since 1994. With the idea of being at the forefront of audio, Dunu is always trying to innovate, from its famous hybrids, to its improved dynamic driver manufacturing technologies. This is the case with the new Falcon Pro model, which uses a DD with patented Eclipse technology. The technology is described as "Composite Driver Assembly Techniques" and is certainly more complex than its name. Among other things, the driver and its diaphragm have been designed for complete range, self-contained voicing and a hybrid acoustic configuration. The magnet used has a magnetic flux of 1.6T, a very high value. We all remember when, not so long ago, 1T IEMS appeared and, nowadays, this figure has already been highly surpassed.
It is worth remembering that this new model is the successor to the Falcon-C, an IEMS with a single dynamic driver, which was launched at the end of 2016, with a price tag of $219. Currently, this model is no longer in production, which is why its replacement has appeared, even at the same price.
The Falcon Pro, which is part of the Eclipse technology, shares a line with the Luna and Zen Pro models, and is the most affordable of the range. Adding a bit of history, this model was scheduled to be launched in early 2020, but we all know what happened last year that still continues to plague the world. All this time has not been wasted, and has even served to make this new model more mature, extracting the best of the Eclipse technology, creating a new 10mm dynamic driver, which uses a diamond-like amorphous carbon dome diaphragm, applied by plasma-enhanced chemical vapor deposition atop thermoplastic polymer .
Well, I could go on commenting on all these little details that make these IEMS great, but I'm sure that all those who find these explanations interesting will find much more information on the purchase web page of the official site. On the other hand, as usual, after the classic introduction, I will dedicate myself to comment the excellences of this new Dunu IEM, apart from its sound, of course. Don't fall asleep, the best is yet to come.

Dunu Falcon Pro 01.jpgDunu Falcon Pro 02.jpg


Dunu, offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.

Dunu Falcon Pro 03.jpgDunu Falcon Pro 04.jpg


  • Driver type: Eclipse drive module. 1 DD with 10 mm diaphragm with amorphous diamond-like carbon dome and fully independent suspension surround. 1.6 T External Ring-Type Neodymium Magnet
  • Frequency Response: 5kHz-40kHz.
  • Sensitivity: 112dB ± 1dB @ 1kHz.
  • Impedance: 26Ω @ 1kHz.
  • Total Harmonic Distortion: < 0.3% at 1 kHz.
  • Cable length 1.2m ± 0.1m
  • Cable material: 6N silver-plated OCC copper
  • Jack connector: DUNU Quick-Switch Modular Plug System (NEW). Connectors included: 4.4mm TRRRS Balanced, 3.5mm TRS Single-Ended, 2.5mm TRRS Balanced.
  • Capsule Connection Type: Patented Catch-Hold® MMCX Connector.
  • Net Weight: 19g.

Dunu Falcon Pro 05.jpgDunu Falcon Pro 06.jpg


To my surprise, the Dunu Falcon Pro case is very compact. Its dimensions are 134x97x71mm. It has a cardboard sleeve, vertically sliding, whose colour is slightly pale yellow. On it are drawn, as a repetitive pattern, the logo of the brand, the letter D with the word "Dunu" across the left column of that letter and a headphone headset. All in clear grey ink. At the bottom of the front face is the model name, next to the Hi-Res logo, in the lower right corner. On the back are the specifications, in Chinese and English, certification logos and brand information (address, website, etc.). Sliding off the protective cardboard reveals a complete black box with "DUNU" written horizontally, in silver, in the centre of the box. On its vertical base, there is a sticker certifying the originality of the product. After lifting the lid, a large turquoise-green zippered case can be seen. The brand's logo is engraved in silver, in the centre of the case, in bold letters. A transparent plastic sheet protects the emblem. The case is protected by dense black foam at the top left and bottom right corners. Underneath is a black card with the Q-Lock LITE logo and a black cardboard box with silver branding in the centre. Both inside the case, and inside the box, are the rest of the accessories. In a summary:

  • The two Falcon Pro capsules with the "Reference" filter.
  • Brown cloth pouch to hold the capsules.
  • A zippered case.
  • 1 cleaning cloth, in a transparent zip bag.
  • 3 pairs of clear grey silicone tips, sizes SxMxL.
  • 3 pairs of black silicone tips, with different coloured inner core, sizes SxMxL.
  • 3 pairs of black translucent silicone tips, with blue inner core, sizes SxMxL.
  • 3 pairs of grey translucent silicone tips, large inner diameter, with whirlwind type filling, sizes SxMxL.
  • 1 OCC copper MMCX cable, silver plated 6N, with Q-Lock LITE connectors.
  • 1 2.5mm TRRS Balanced connector.
  • 1 4.4mm TRRS Balanced connector.
  • 1 3.5mm TRS Single-Ended connector.
  • 1 3.5mm to 6.3mm adapter.
  • 1 cleaning brush.
  • 1 steel plate that holds the "Transparency" and "Atmospheric Immersion" filters screwed on.
  • 4 blue rubber washers.
  • 4 red rubber washers.
  • 4 yellow rubber washers.
  • 1 Q-Lock LITE card.
  • 1 card with instructions on how to assemble the connectors.
  • 1 quality certificate card.

The content could not be more complete and compact. All a demonstration that in a relatively small package, many interesting things fit. An example to follow, to avoid disproportionate sizes. Special mention should be made of the zipped case and its cloth bag-like interior, for its size and careful quality, which offers a distinguished presence to the whole. The detail of the pouch to protect the capsules should also be acknowledged. Although, in my opinion, it seems a bit small and the storage task is not very quick. Despite the wide variety of tips, I miss the arsenal of the DN-1000 model, which included bi-flange, tri-flange and foam tips, among many others. But even so, the content is excellent.

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Construction and Design

Unlike the Falcon-C model, whose capsule was made from an amorphous zirconium alloy (also known as "liquid metal"), the Pro uses more conventional materials, such as stainless steel and aluminium. This makes the manufacturing process easier. Although the design of the previous capsule is retained, changes have been made to improve ergonomics. The model is only available in one colour and is made of stainless steel. Its interior has an anti-resonant, double-chambered housing design. The outside of the capsule is polished and has a sandblasted/grinded bezel on its edge, which contains the repeating motif on the caseback. The brand name is engraved in the centre of the outer face. The inner face has the same polished and shiny chrome plating. The shape is far from simple: it resembles the classic kidney shape, but with a chubbier belly, with a very rounded shape, resembling a filled but irregular spiral. The outer face bulges at the MMCX connection. The interior is more complex, if possible, than the patterned bevelled outer face. It has two levels. On the lower one is the channel inscription, a letter R or L within a circle, all engraved on the surface. Next to it, moving away from the MMCX connection, are two relatively deep and large holes, at the bottom of which are two perforated grids. The second level is close to the nozzle and at its base there are three more holes. They are not as deep and reveal a white micro-perforated grid, which looks like a textile. If before, the perforation of the grid could reach the head of a pin, this time the holes are not visible, because it is a dense mesh. At the top of the inner side, there is another particular part of this great creation. This is the screw-on nozzle. There are three pairs of mouthpieces, whose mesh density, height and inner diameter, among other characteristics, give these IEMS their particular sound. They are called "Reference", "Transparency" and "Atmospheric Immersion". In the case of the "Transparency" mouthpiece, it has an approximate height of 4mm, the largest diameter is 6.2mm and the smallest is 5.4mm. The "Reference" mouthpiece has a higher height of 5.6mm and the "Atmospheric Immersion" is the highest of them all, with a total of 5.8mm. The base of all of them has a narrow rim, followed by a longer part of smaller diameter. This ends in a rim that starts with a thin step, followed by a bevel, which is flush with the 1mm hole protected by a dense metal grid.
The capsule uses a patented MMCX Catch-Hold® connector. The cable features Q-Lock LITE (DUNU Quick-Switch Modular Plug System) technology, which allows interchanging the three existing angled plugs (3.5mm SE, 4.4mm BAL and 2.5mm BAL). The conductor consists of two coiled strands of OCC copper wire, silver-plated 6N. The splitter piece is an elongated metal cylinder with the marking printed lengthwise. The pin is a small piece of transparent plastic, the inner holes of which are slightly larger in diameter than the wire, allowing easy sliding and a somewhat loose, but subtly effective fit.
Finally, the technology used for the dynamic driver is again worth mentioning: it is an Eclipse drive module, with a 10mm diaphragm and a diamond-shaped amorphous carbon dome, covered by a fully independent suspension. The magnet used is a 1.6 T neodymium outer ring magnet.
There is no doubt that this model, with all the technologies used, the patents and the Eclipse driver, if it had been made by another brand, it might be worth a lot more. But Dunu has left it at the competitive price of $219, a very moderate value for such exquisite build quality. Really, it's hard to find a rival that can beat it in quality, beauty, size and design. The cable may not be the fattest, or have the most strands in the range, but the interchangeable plugs are beyond their reach. With all this, added to the low weight of the capsules (only 19 grams), it only remains to conclude that the Dunu Falcon Pro, in this section, are outstanding and very difficult to beat, up to 300$.

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Adjustment and Ergonomics

Dunu itself comments that it has improved the ergonomics of the Falcon Pro, compared to the Falcon-C. It is worth noting that it has been effective in this respect. And it is worth noting that it has been effective in this regard. The shape and design of the IEMS is truly designed to facilitate fit and maximise comfort. Between the low weight, the very rounded shapes, the double-decker inner face, the length of the mouthpieces and the relatively small size of the capsules, they achieve a very high level of ergonomics, an easy fit, with hardly any friction and a shallow insertion, which can tend to be medium, depending on the tips used. In my case, I use the usual foam-filled tips, which allow a fairly good seal, although a shallow insertion. Despite this, the capsules are well integrated into the pinna, without protruding too much, rubbing minimally or not at all in the parts of the ear. Thanks to the shape of the MMCX connector's housing, the cable is very well routed. It is barely noticeable as it passes over the ears.
All in all, the Falcon Pro is very suitable for long listening without being uncomfortable due to pressure, insertion, weight or friction. In addition, with the right tips, a good level of isolation can be achieved.
Finally, I must comment that because of the 5 holes in each capsule, the sound escapes through them. This does not make them the best companions for the people around them, especially if the room is quiet.

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The profile of the Dunu Falcon Pro is subtly V-shaped, where the balance between the low mids and high mids varies slightly, depending on the mouthpiece used. The tone has a warm tendency. The nature of the sound carries a certain warmth, which is also supported by the demonstrated balance, density and body of the upper midrange and the softness of the upper range.
The "Atmospheric Immersion" mouthpiece has a profile more inclined towards the low end, where its high mids and treble are more subdued. The "Reference" mouthpiece is more balanced, while with the "Transparency" mouthpiece, the tendency is slightly brighter. Actually, according to my graphs, the bass curve is very similar, while the changes are visible from 100/200Hz onwards, with the biggest differences between all profiles being between 2kHz and 6kHz. Even so, the distances between valleys and peaks of all the profiles obtained are very smooth, which gives an idea of the balance that Falcon Pro possesses. So much so, that they even verge on neutrality.

Frequency response referenced to 1kHz


Frequency response at equal volume, unreferenced



The low area that this new Dunu model tries to draw in, aims for realism, rather than an emphasis on sub-bass. While LFOs are not easily found in nature, in IEMS this area is usually emphasised with the intention of obtaining a cleaner and less polluted midrange from the bass. It is true that I like that kind of sound and I advocate for a graphic of that style. But, I must also admit what some very wise voices say in this regard: What is real below 40Hz? You can ask yourself that question and then listen to the Dunu Falcon Pro and try to answer it.
Using the "Atmospheric Immersion" filter, perhaps the mouthpiece that allows you to hear the most bass enhancement, does not even convert these balanced IEMS to a bass profile. It is clear that the harmony between all the bands is the treasure to be protected, in addition, of course, to the naturalness. And that is what is observed. The bass is defined with a realistic speed and decay, I don't think it's the fastest in the range, nor the fastest to disappear, although the aftertaste it leaves is practically non-existent. It is undeniable the skill of the driver, when executing that bass stroke more focused in its half, describing it agile, clean, penetrating, with excellent definition and resolution. Although it is also true that the roughness is light and that the bass does not scratch. Its surface has a delicate tendency, with a soft, smooth, silky, pleasant texture. Those expecting a little more violence or brutality from the Eclipse driver may be disappointed, because it has a talent for control, capable of keeping even the worst filtered, earth-shattering bass at bay. What for some may be a slight disappointment, for others may be a life insurance, thanks to a precious, careful and, finally, respectful reproduction of our ears and fidelity, which is the most important thing.
In short, the Falcon Pro bass has a Hi-End vocation, which seeks a recreation that seems easy and natural, but hides many skills. Starting from a dominant central base, they manage to define a deep and rounded sub-bass, at the same time soft, light, but perceptible. In the same way, its extension towards the midrange is excellently controlled, managing to focus and locate the low range, in a plot where the limits are invisible, but real. Another ability to perceive, is the dosage of the energy applied to the bass attack. As I said, the naturalness of the zone can give the impression of a more sluggish performance, in terms of speed. But the ability to contain and recover from each bass hit, along with the sonority it produces, is something that gives the Falcon Pro's low end definition that is distinctive and quite unique, as if each bass drum is a new, fresh and completely enjoyable musical passage; a miniature delight.

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In order to enjoy the best mids, I decided to switch to the "Reference" filter. With the "Atmospheric Immersion" filter, the vocals seem more liquid, diluted, thin, ethereal and volatile (the reason for the name of the mouthpiece is clear). The rest of the instrumentation also possesses such qualities and, in general, the sense of a wider, more gaseous scene becomes apparent. The sound is generously airy, but I sense an absence of body. After screwing in the reference mouthpiece, that body appears and the voices take on a natural lift that brings them back to earth, as if by gravity. The previous realism, existing in the lower range, is now transferred to the central range, with the change of mouthpiece.
My impression, when I first tried the Falcon Pro, with this filter as standard, was a sense of innate realism, so natural, that it conveyed almost no surprise. As the hours passed, I realised that this lack of surprise is the true gift of the mid-range. As a reviewer, I have a tendency to want to feel a new sensation with every earphone I try, a distinctive feeling, something that allows me to single out the reviewed model above the rest. But when I tried these Dunu's with the Reference filter, I didn't get that feeling. I didn't find that "wow" effect. However, now, after weeks of listening, I must conclude that everything is articulated as it should be, everything is canonically executed, everything appears and everything is found, easily, realistically, naturally, effortlessly and without anything coming across as artificial. The true skill of the "Reference" filter also lies in its name. It is about purity and neutrality, cleanliness and clarity, about an organic and analogue sound, which takes us back to the origins of balanced and inherent music.
Unsurprisingly, the moderately warm tone feels fully attuned to the Falcon Pro's apt and timely timbre. To liven it up or tone it down, simply connect it to sources with a different profile. This Dunu will not change its sonority easily, but its details may take on the character of the device. A warm source will give more body, more weight in the first half of the mids, adding a higher density, which will produce a more powerful, but cleaner and more controlled sound. A cooler source will bring more cleanliness, clarity, definition and resolving power. But it will not turn the Falcon Pro into an analytical earphone.
Another aspect of the mid-range is the balance: nothing stands out, in presence, above the rest. Thus, these are not other IEMS with emphasised high mids, pursuing clarity above all else. Rather, they are in that mature trend of controlled, smooth and linear high mids. Although, it is also true that some dB of excitation can be gained, thanks to the filters, but this does not mean a loss of this virtue. In this way, coherence is maintained, as the guiding thread of a balanced mid-range, where nothing stands out completely, so that the whole is what really matters.
Naturally, the purity of the sound allows the details to be of high resolution. The Falcon Pro's easy expressiveness offers a high level of nuance, as well as very revealing aspects. However, at the micro level, they are not so analytical as to be able to highlight some of the smaller elements. Perhaps this is not in their nature.

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To achieve the best high end response, I have mounted the "Transparency" filter on the Falcon Pro. This emphasises the high mids and also the treble, compared to the other filters. Despite this, the sound does not lose its balance, but it does have more sparkle. The highs are quite linear and there are no hollows or clear peaks. Its response is extended, but not predominant. To tell the truth, I had been looking for a high end tuning like the Falcon Pro's for a long time. And it's even better, because the response can be controlled or slightly excited, thanks to the filters. So it's very easy to find the right point to suit your taste, unless you're a treble-head. By this I mean that control is never lost, and neither is realism. Both timbre and tone remain on the natural side of reproduction, even enhanced by the linearity of the treble response. Thus, the expression of the upper range has sparkle, precision, finesse and delicacy. The high notes are thin and very well defined, very fast and ephemeral. Thus, they do not linger in the environment and the atmosphere is not contaminated by the shimmering aura that is sometimes generated in other models by overlapping trebles. The level of resolution and the speed contribute positively to the recreation of space between these notes and help to create emptiness and darkness between them.
Despite the excitement of the "Transparency" filter, the treble is not explosive and its crackle can be felt, but it is relatively subdued, very well recreated, but with a balanced tendency, which does not predominate over the rest of the range. It could be said that they are secure but extended, with excellent representation and presence, throughout their range, without underestimating the level of air achieved. An example to follow.

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Soundstage, Separation

The scene can be augmented, making it more ethereal and gaseous, by using the "Atmospheric Immersion" filter. As the name implies, this gives a more three-dimensional and open feel to the scene, gaining separation on all three axes. Going back to the "Reference" filter, the sound becomes more realistic, but less surrounding. Elements are brought nearer, but never too close together. In the Falcon Pro scene, half distances predominate: nothing is too far away, but nothing in the foreground either. Perhaps, with the "Transparency" filter, some elements are brought closer to the listener, but without losing the relative distance between them. Even with this one, height is gained.
No compression is observed with the change of filters and although the scene is modified, it does not undergo very decisive variations in width. The differences are more in height and three-dimensionality. Cleanliness is not altered much either, as there is always clarity, distance, emptiness, darkness and air between notes.
The level of detail is explicit and easily distinguishable. This is not an analytical sound, where the nuances are exposed more than the fundamental parts, but it is true that the Falcon Pro's have a tendency to make the details visible and palpable. However, micro detail feels less perceptible, sometimes more hidden and obstructed. Perhaps so much information within earshot pushes those smaller details away.

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Rose QT9 MK2

For comparison, I used the "Reference" filter on the Dunu Falcon Pro.
The Rose QT9 MK2 are one of my favourite headphones and are similarly priced, although a little higher at $239. It is a 1DD+4BA multidriver. Its dynamic driver is also 10mm and it also has 2 TWF30018 BA + 2 TWF30019 BA. The DD's diaphragm is made of Goertek tungsten alloy film. Their size is even smaller than the Falcon Pro, but they are made of resin. They are lighter and their nozzles are shorter, so they fit more snugly in the pinna. But it can be more difficult to find suitable tips for their shallow insertion.
The Rose's tuning is more W-tuned, leaning towards sub-bass, with a smooth, but somewhat uneven high end. In principle they have a more predominant and powerful low end, with a high end that feels brighter. The drawback is in the mid-range, where vocals and other instruments can sound thinner, comparatively speaking, compared to the Dunu. Another clear difference is that the Dunu's sound darker and warmer than the Rose's, while the Rose's sound clearer and cleaner.
The Rose represents a sub-bass accentuated bass, which has a rougher and more descriptive, more exciting texture. Meanwhile, the Dunu's have a tighter, more compact, restrained, dryer, softer and smoother textured punch. There is more control in the Falcon Pro, but more excitement in the Rose. The Rose's sub-bass tilt shifts the sense of depth, while the Dunu's greater presence in the mid-bass widens the low end. The perception of both zones can change quite a bit after a quick switch from one model to the other, depending on the song being played. It is true that the Dunu's generate a mixed feeling of darkness and warmth, while the Rose's can be perceived as more hollow in the upper bass, but with more light. The bass tuning in both IEMS is different and instantly noticeable.
In the midrange, the Rose's sub-bass tuning makes the initial mids more distant, thinner and finer. They can even sound more hollow, comparatively speaking, as the Dunu's have more body and density in this first zone of the midrange. Conversely, this makes the Rose's sound cleaner and clearer, in contrast to the Dunu's greater warmth. The thinness of both male and female voices on the Rose is obvious in relation to the Dunu's greater corpulence. However, the female voices, despite their thinness, can sound closer and brighter on the Rose. It is true that this area can become very polarising in the perception of musical genres, in favour of one or the other. It is clear that for rock and metal, Dunu's are more appropriate. But this is not always a guarantee of success, because the upper mids also come into play. In this area, the Rose has an excitement which, together with the larger central valley, provides a higher clarity by contrast than in the Dunu. Whereas the Dunu, being more balanced, feels more discreet and linear, less clear, but also denser. The middle distance presentation of the elements persists in the Dunu, as opposed to a more dynamic alternation in this sense in the Rose, which presents elements closer together. This gives it a more sparkling vivacity, as opposed to the more uniform and slightly more distant drawing of the Dunu.
The treble timbre of the two IEMS is different. While the Rose seems more explosive initially, the Dunu is flatter. There is more sparkle, a more fleeting flash in the Rose. But the Dunu has a more progressive and linear treble, even if it is perceived as softer overall. They also reach the air zone with more energy. On the other hand, in the Rose, after that initial sparkle, they feel slightly cut off in extension, limiting the evolution of their harmonics. Thus, despite the smoothness, the realism in the complete reproduction of the treble falls on the side of the Dunu.
At the stage level, the Dunu's have to use their "Atmospheric Immersion" filter to compete on equal terms with the Rose. And yet, they are still in trouble. The depth of the Rose is greater and the width almost as much. Where the Dunu wins with this filter is in the three-dimensional recreation. There seems to be more height and a greater spherical separation. The more gaseous and vaporous feeling favours this superior sensation. As a consequence, the distance is presented differently in both IEMS, slightly larger in width and depth in the Rose, larger in height and surround level in the Dunu.
Details are simpler and less forced in the Dunu. The initial sparkle of the Rose draws them sharper, while they feel more natural on the Dunu. Although the final level of resolution, despite the differences in sound and timbre, they are very similar. I find the Rose's subtly better at rendering the tiniest details.


NiceHCK Topguy

You have to admit that NiceHCK has been doing some good IEMS lately. He took a stab at beryllium in his Lofty model, albeit with traditional tuning. He immediately polished the curve with his latest Topguy, using a 10mm dynamic driver with a magnesium-titanium alloy diaphragm. And it seems that 10mm is the right size for 1DD. We all know that NiceHCK is an audio shop that has been putting out models of earbuds and IEMS for years. Perhaps, the public does not value them properly, as opposed to other brands with as much tradition as Dunu. It is clear that this is an unequal comparison, because the Topguy is the top of the range of NiceHCK, while Dunu has models that are much higher in price. But, in this case, we are talking about a comparison of the same segment.
Topguy's have a more traditional shape, although their final workmanship is beautiful and excellently constructed. The Dunu's are smaller and have other more avant-garde details that are hard to beat, in addition to their interchangeable mouthpieces, they are smaller, achieving a more generalised degree of comfort. In the cable, both use a 6N OCC, the final coating changes (nylon vs. plastic), as do their connectors (interchangeable on the Dunu, with adapters on the NiceHCK). Despite the luxuriousness of the NiceHCK's accessories, I'll take the Dunu, for being more innovative, complete and detailed.
To match the curves of both, I used the "Transparency" filter on the Dunu. The result shows similarities in the first half, while there are more differences in the second half.
In the low end, it is true that a very good level of bass reproduction is being reached. Both have a very concise, fast and focused punch, but the Dunu has more sub-bass. This gives a darker, but less coloured, more realistic and natural timbre. The dryness of the punch is higher on the Dunu, so the bass feels tighter and faster, but it also has a smoother, less descriptive surface. Though not by much more, the Topguy's add texture and an attractive roughness.
In the midrange the similarities continue, but the Topguy's have a sharper timbre, while the Dunu's boast a full, dense, warmer and well-balanced body. The NiceHCKs may bring the vocals closer to the listener, while the Falcon Pros continue their tendency to present them midrange, despite all the substrate they possess. Because of the superior upper-mid boost, the NiceHCKs have greater apparent clarity. But the Dunu's greater treble extension improves intonation, enriches the midrange with better, more realistic harmonics, and lengthens the expansion of the treble notes, as well as the amount of air. Although the NiceHCKs have improved their intonation over the Lofty, they still have potential for improvement. And I think they would do well to follow the lead of the Dunu Falcon Pro, especially on the high end, as an example of extension, control and naturalness, of how the treble should be filled without sounding shrill. Not that the Topguy's are, but you can hear some of the upper midrange notes, more individually excited. Although there can always be tastes suited to such situations, adept at sparkle or initially crunchier treble.
The scene is not equally recreated in both IEMS, although the size might be similar. The Topguy generates a better representation of the elements in depth, because it has the ability to present elements closer and further away. In that sense, the Falcon Pro's mid-distance appearance penalises them in this respect. Switching to the "Atmospheric Immersion" filter gives the Dunu more three-dimensionality and vapouriness, but with the "Transparency" filter it would be slightly below the NiceHCK. The higher density of the Dunu also works against the separation and clarity, the NiceHCKs are slightly better in this respect. What happens is that the "Atmospheric Immersion" filter comes to the rescue again, offering a three-dimensional separation that is not as pronounced in the NiceHCKs. At the level of detail recreation, both IEMS have different properties to drive different nuances. It is curious how, after switching from one to the other, these nuances also change. The greater extension of the treble favours the Dunu in specific aspects and the greater excitation of the upper mids, in the Topguy, acts in the same way, but in that specific range. But it is true that there are micro nuances that the Topguy is able to show, perhaps because it has the dynamic ability to play at different depths or because of a higher level of transparency. In many of these aspects there is a technical tie, but the versatility of the filters and better tuning subtly elevates the Dunu over the Topguy in sound. But the NiceHCKs are still a great choice.



If I were writing a light, quick and simple conclusion, resorting to hackneyed clichés, I could say that the Dunu Falcon Pro is destined to be a "must have" for any IEMS enthusiast. A safe and effective bet for all those who ask me for one of my favourite IEMS under $300. But even better, I should say that they are only a little over $200, include one of the best sets of accessories in that price range, and arguably have the most unique and attractive design of any of their direct rivals. But what really matters is the sound, and this justifies all of the above.
In the beginning, it was all about dynamic drivers. When BA drivers could be integrated into IEMS, the trend changed. In the meantime, hybrids also emerged and then more technologies to create different and more complex drivers. But for some time now, dynamic drivers have been making a stronger comeback. New materials, new technologies and more powerful magnets allow dynamic drivers with superior characteristics and a return to the basic principle, to recreate the same music as always, but better. Eclipse is a clear example of this. But what makes it different is the tuning. There are different colours for different tastes and different tunings for different ears. And in this sense, Dunu has been original, it has bucked the trend and opted for a balance based on a classic concept. It's not about inventing something new, it's about doing it better, going back to the origins, but improving in all aspects. And that's the idea that the Dunu Falcon Pro transmits to me, the re-foundation of a classic and natural sound, but improved from its base, so that it sounds like never before. Are you going to miss it?

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Sources Used During the Analysis

  • Burson Audio Playmate.
  • Tempotec Sonata E44.
  • Hidizs S9 Pro.
  • Earmen Sparrow.
  • S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
  • Tempotec V1-A + Hidizs DH80S
  • Zishan Z4.
  • ACMEE MF02s.

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  • Construction and Design: 96
  • Adjustment/Ergonomics: 96
  • Accessories: 93
  • Bass: 91
  • Mids: 93
  • Treble: 93
  • Separation: 92
  • Soundstage: 90
  • Quality/Price: 97

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Web Link


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You can read the full review in Spanish here:


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500+ Head-Fier
Excellent midbass-centered warm V-shape IEM
Pros: ECLIPSE driver technology for the masses
Good dynamics
Very tight and fast bass response
Lower mids have very pleasing warmth and body
Upper mids are energetic without becoming edgy
Extremely refined and even treble response
Generally competent technicalities
Three tuning nozzles which are not gimmicks
Q-Lock Lite interchangeable termination cable
Very comfortable
Extremely good build
Extremely well accessorized
Cons: Midbass-centered tonality isn’t very versatile (for my library)
Bass lacks some texture
True mids are notably recessed
Attack is somewhat blunted
Technicalities are obscured by tonality
Poor isolation
Finicky fit for my ear anatomy
Introduction: Dunu has been receiving high praise throughout the past few years for their ECLIPSE single-dynamic driver technology, first in their flagship pure-beryllium Luna, then last year with the Zen. Now they are targeting the upper-entry level price range with the Falcon Pro, retaining the engineering feats which power their previous higher-end models but this time utilizing an amorphous-DLC dome and driving down costs by scaling up production to significantly higher levels. Not content to simply allow the Falcon Pro to inherit their now-mature driver technology, Dunu has also equipped their latest model with a new iteration of their Q-Lock interchangeable termination cable system — and now for the first time incorporates interchangeable tuning nozzles as well. How does the Dunu Falcon Pro fare against its stiff competition with an MSRP of $219.99? Read on the find out.


I would like to thank Dunu for providing a sample of the Falcon Pro in exchange for my honest review. Dunu continues to distinguish themselves by explicitly inviting honest criticism from reviewers, seeking to rigorously improve upon each product rather than trying to maximize sales in the short term by preferring only positive feedback. This along with their extreme transparency regarding product specifications and development is truly a breath of fresh air, and I have no doubt that these policies will benefit not only consumers but Dunu themselves as a manufacturer.


Packaging & Accessories: Dunu without any doubt is giving FiiO a run for their money in terms of extremely generous accessorizing, even with their lower-priced offerings. The Falcon Pro comes with a zippered hard shell carry-case, as well as a double pouch to store each earpiece safely. The stock 6N silver-plated OCC MMCX cable is quite solidly constructed (even if it is not as supple as I would prefer), and their new Q-Lock Lite iteration on their interchangeable termination system is based on friction-fit and is extremely easy to operate — one simply pulls off one termination and plugs in the other; a 6.35mm adapter is included as well. The Falcon Pro also comes with three interchangeable tuning nozzles - Reference, Atmospheric, and Transparency (more on these below). There are no fewer than four sets of S/M/L silicon tips, although unfortunately no foams are included. A cleaning brush and microfiber cleaning cloth round out the ample accessory package. The only thing that could possibly be considered missing (other than the aforementioned foam tips) is an MMCX tool, but given the price point I don’t think anyone will have cause to complain.


Build & Comfort: The Falcon Pro is extremely handsomely made out of stainless steel, with the faceplate and body polished to a mirror-like finish. The Dunu logo is embossed on the faceplate as well as along the beveled edges, and there are no harsh edges to be found anywhere ensuring excellent in-ear comfort. No fewer than five large vents have been placed on the inner surface, and so as a result driver flex and pressure build-up are nowhere to be found — unfortunately, however, neither can much of any isolation be found either.


Regarding fit, I actually had quite a bit of difficulty keeping a good seal — especially with the shorter Transparency nozzles. From what I gather I am an outlier in this regard, and most people will likely not have any such trouble. Nevertheless this is where the abundant number of included tips really came in handy, especially since nothing either in the box or in my personal collection availed except for the Sony hybrid clones which Dunu thankfully provides with the Falcon Pro.


Signature: The Falcon Pro has a warm, mild V-shaped signature, which clearly emphasizes the midbass in all three tuning configurations. I never found this midbass emphasis to reach the point of boominess, but there is undeniably some amount of bloat present as well as some warmth bleeding into the lower mids. However, the ECLIPSE driver technology powered by 1.6 Tesla magnets allows the Falcon Pro to be fast and tight enough to retain a clean presentation in spite of the warmth and hefty note weight, which is no small feat and one which means the Falcon Pro should be on the short list of all those who crave a powerful yet well-controlled midbass punch.


Regarding the tuning nozzles, I will say first that the Reference nozzles are clearly misnamed as there is nothing reference about the Falcon Pro’s sound regardless of configuration. Nevertheless they do represent the midpoint between the three tuning options, and provide clearly the most homogenous sound as well as the most even treble reponse. The Transparency nozzles are my preferred tuning choice, giving the treble just a bit more spice and energy to counterbalance the heft of the midbass at the lower end. Some have found them bright, but personally I still found their treble response quite inoffensive — simply a bit more energetic and detailed, never harsh or fatiguing. The Atmospheric nozzles were interesting, but overall I found their sound simply too thick from top to bottom to be very appealing. The remainder of my impressions represent my listening with the Transparency nozzles.

Bass: As mentioned above the tonal emphasis of the Falcon Pro is clearly on the midbass, and the subbass while present is a bit rolled-off — though personally I never found it lacking. The overall impression is punchy, dynamic, and physical though not quite visceral. As I said earlier the speed and tightness of the bass are quite impeccable, and the Falcon Pro’s agility allows it to keep its powerful midbass punch fairly well in check when required. This is also aided by a faster decay than usual for a dynamic driver, although this never reaches the point of seeming unnatural. On the other hand, however, there is not as much texture in the low end as once could desire.

Mids: The lower mids are fairly warm and have a thicker note weight. This of course suits male vocals and lower-registered stringed instruments quite well, and the aforementioned agility of the driver means that the sound never becomes muddy or congested as a result. The upper-mids for their part are quite well-done, providing sufficient energy (especially with the Transparency nozzles) to balance well with the warm lower-mids yet without becoming edgy or aggressive. However the true mids are a bit too recessed for my personal tastes, and this does mean that the midbass can dominate some tracks significantly more than its level of dB elevation in isolation might lead one to believe. This is my chief complaint about the Falcon Pro: I do like a tasteful midbass elevation, but only so long as the mids too are sufficiently well-balanced together with that midbass — and this is simply not the case here to my ear. But of course this complaint is a personal one, and those who prefer a V-shaped tonality will likely be singing a far different tune here than I.

Treble: Happily, the treble is unquestionably one of the best I have heard on any single-DD anywhere near this price range. Dunu states that they labored long and hard over the treble response, especially seeking to suppress the 5K peak that has afflicted other dynamic drivers and resulted in significant harshness and fatigue. I can say with certainty that their work has more than paid off. The treble is clear, detailed, even, and reasonably well-extended (especially for a dynamic). Those who like their treble on the safe side can opt for the Reference nozzles, while the Transparency nozzles give a good amount of detail and clarity without ever becoming piercing or harsh. There is some air as well, although the midbass-focused tonality does tend to obscure this on many tracks.

Soundstage & Technicalities: The Falcon Pro is characterized by technical competence, though nothing outright excels and often the prowess it does possess is somewhat obscured by its tonality. Detail and resolution are satisfactory on the Transparency nozzles, though on the other nozzles they are a bit suppressed. Imaging is pretty precise for a single dynamic. The soundstage is well-proportioned although fairly average in terms of diameter. Layering is pretty well-done although the warm tonality means that there is not much air or separation between those layers. Attack is a bit blunt, although decay is fairly quick and clean. Timbre and coherence are fairly good (being a single-DD IEM), but not extraordinary — again, almost certainly as a result of the tonal bottleneck.


Select Comparisons:
vs. FiiO FD3: This is a somewhat unfair comparison given that the FiiO is about half the MSRP of the Falcon Pro. Nevertheless it is another notable single-DD release with a roughly similar tonality, and so I think a brief comparison is still appropriate for those who wonder if the Falcon is worth double the money. Well, for my money it definitely is. The FD3 has an even stronger midbass emphasis, one which definitely does cross the threshold into boominess at times. Its treble response is also notably more peaky and unrefined. In short, the Falcon Pro is a more mature take on the same warm V-shaped tuning, and if you can afford the price difference then the Falcon Pro is a true upgrade.

vs. Unique Melody 3DT: This is an unfair comparison in the opposite direction: the 3DT is nearly twice the MSRP (although it can usually be found for only 50% more than the Falcon Pro) and boasts three dynamic drivers to the Falcon Pro’s one. As a result it is undeniably the more technical IEM, with much greater resolution and clarity. It also has a much more textured bass, and prefers a notably more versatile subbass emphasis rather than the midbass emphasis of the Falcon Pro. However, the treble region does fall prey to some significant peaks, driving the treble-sensitive to almost certainly prefer the Falcon Pro especially with the versatility granted by its nozzle system. In addition, the quite large shells of the 3DT will be significantly more limiting to those with smaller ear anatomies than the Falcon Pro.

vs. ISN H40: The H40 is one of the best hybrids available around the MSRP of the Falcon Pro, and one which shares an emphasis on the low end. However this emphasis is significantly different, firstly on account of being somewhat subbass-biased (though still with considerable midbass as well) but secondly by having a much more romantic and atmospheric character. The Atmospheric nozzles of the Falcon Pro approximate this to a certain extent, but to be frank the H40 just does it better. It also has a much less recessed midrange, although they do share similar warmth there. The H40 moreover boasts a much more impressive soundstage, and in general being a hybrid is technically superior. On the other hand, the Falcon Pro is much cleaner and has a significantly faster and tighter bass response which will lead to its being the clear favorite for certain genres. It also possesses a more natural timbre on account of being a single-DD, and is beyond doubt better accessorized at the same price point. The stainless-steel build of the Falcon Pro might be preferred by those not living in cold climates, though those who do will likely prefer the resin of the H40.


Conclusion: Hopefully my review has already made my opinion of the Falcon Pro clear: it is a well-designed, well-executed, well-built, and well-accessorized implementation of a tuning which simply does not suit my taste. I can’t knock Dunu at all for this, since there are many people out there who love a warm V-shaped sound signature and who will no doubt love the Falcon Pro’s brilliant execution of it. Dunu has clearly labored meticulously over the ECLIPSE driver technology, and is to be applauded for bringing it to the masses via a far more accessible price point. All I can say is I can’t wait to hear the ECLIPSE driver in action with the next tonality Dunu decides to take on!
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Great review! found everything I want
alexandros a
alexandros a
nice review................In anticipation of H50 then................(bass wise nothing is able to overthrown the KING/H40 yet).....


Headphoneus Supremus
Rock/Metal Champ
Pros: Non-offensive and clean treble
Smooth and clean vocals
Mid-bass quantity/quality, lots of texture, fast and tight
Good timbre
Specialist iem (top pick for rock/metal and great for R&B)
3 Tuning filters
Build quality
Cons: Sub-bass roll-off (not for sub-bass lovers)
Treble can be too smooth for some
Not a versatile iem for my library

Disclaimer: I received this review unit for free from Dunu themselves. Thank you very much.

Price: 220 usd



SENSITIVITY: 112 ± 1 dB at 1 kHz

IMPEDANCE: 26 Ω at 1 kHz




Carry case

Nylon bag

Cleaning tool/cloth

3.5mm -> 6.35mm adapter

S/M/L “Sony EP-EX11” tips (seems to be the Sony tips)

S/M/L silicone grey tips

S/M/L silicone blue tips

S/M/L silicone grey/black tips

Blue/Yellow/Red O-rings (for the filters)


Cable: 2-core (technically 4, but works as a 2 core) cable. Has a working chin-slider and metal divider/connectors. Modular design with included 3.5 SE and 2.5/4.4mm balanced connectors. 3.5mm measures at 0.47 while the 2.5/4.4mm measures at 0.52 ohms.






Build: Made out of stainless steel including the nozzle with a lip, that has a metal filter. Mirrored body so it is a fingerprint magnet. Is pretty lightweight for an iem in metal and size is slightly smaller than average.

Fit: Great for me, but not secure enough to be used during physical activities.

Comfort: Excellent, due to the (5) vents there is zero pressure build up so it works great for longer sessions.

Isolation: Very poor due to those vents, definitely NOT recommended if you need isolation.


Tuning filters:
graph (28).png

The differences between the Reference and the Transparent filters are at least on the graph pretty minor, but personally the Transparent is too bright for me and shifts the overall tonality from warm to (too) bright (you do of course get some extra detail from that extra brightness with the Transparent filter, so it is the most technical out of the 3).

graph (29).png

The Reference to the Atmospheric Immersion filter, makes the overall tonality even warmer for me and the technicalities takes a hit from that as well. So personally, only the reference filter is viable.

Setup: Schiit Asgard 3 (low-gain, volume around 8 o´clock), Elecom EHP-CAP20 tips, stock cable 4.4mm, Reference filter

Mid-bass focus but still clean due to the tightness and speed, while texture is very impressive. Sub-bass does roll-off, lacking rumble, extension and quantity for me. Sounds great for rock/metal, enough bass while the quality keeps it from being bloated.

Mid-bass: Metallica – fight fire with fire (01:11-01:52), speed and tightness are quite good along with elevated bass with good texture, although it could be a bit cleaner with more clarity (mostly due to the treble being too smooth here). The (02:55-03:01) section with the chopper is hearable but could be cleaner.

Hiroyuki Sawano – Pretenders (01:18-01:47), texture is very impressive, and elevated as well but still quite clean due to the speed/tightness.

Sub-bass: Djuro – Drop that bass (01:15-01:30), sub-bass roll-off, lacks quantity and rumble while extension is below average as well. Texture is decent and is tight but could be faster.

Will Sparks – Sick like that (03:08-03:22), texture and tightness are very good but could be a bit faster and more elevated sub-bass.

Mids: male/female vocals are pretty well balanced but both are recessed. The mid-bass quantity does cause female vocals to be too warm and lacking clarity, although it works pretty well for male vocals and they sound better than the female vocals do.

Female-vocals: Hiroyuki Sawano – OldToday (01:25-01:52), instrument tonality is excellent and has good timbre. Vocal tonality lacks some brightness and needs to be more forward (recessed here) but timbre is good. Clarity and overall detail could be better.

Yuki Hayashi – MightU (01:58-02:55), both instrument and vocal tonality (mostly vocals) needs to be brighter, with the vocals needing to be more forward and also more clarity/detail would be better.

Evanescence – Bring me to life (01:18-01:35), not shouty or fatiguing at all, very relaxing.

Hiroyuki Sawano – Crescent (02:07-02:26), not shouty or peaky.

Male-vocals: Hiroyuki Sawano – Pretenders (00:57-01:17), vocal and instrument tonality are very good as well as timbre. Although vocals are a bit recessed.

Hiroyuki Sawano – Scapegoat (00:57-01:17), excellent vocal and instrument tonality/timbre.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars aren’t sharp, but is a bit too smooth.

Deuce – America (03:03-03:16), not shouty but separation and imaging could be better here.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, texture and timbre are excellent but could be cleaner and more detailed. Violin tonality lacks some brightness (and air in the upper-treble), could be cleaner and more detailed but good timbre and texture.

Hiroyuki Sawano &Z (02:18-02:57), tonality is very good along with timbre. Could be cleaner and more detailed though.

Soundstage: Below average, pretty disappointing considering the vents (and therefore poor isolation).

Tonality: Warm V-shaped due to the recessed mids and elevated bass (although the treble is pretty neutral) with a thicker than average note-weight. Timbre is good but not exceptional. A specialist iem that specializes in rock/metal, doesn’t work that well for the rest of my library though.

Details: Below average, the tuning is bottlenecking it quite a lot.

Instrument Separation: both separation and imaging are below average, the tuning is bottlenecking them quite a lot.


R&B like these tracks works great with the smooth/laidback treble, warm mids and well texture/elevated bass that is still very clean.

Rock/metal fits it perfectly, elevated mid-bass with a lot of texture that is still clean due to the speed/tightness and the smooth/laidback treble means the cymbals and electric guitars will not be offending.

Songs that highlight the IEM: https://www.youtube.com/watch?v=TCXhD9cwXZA https://www.youtube.com/watch?v=vIaH35-MLsk https://www.youtube.com/watch?v=To2vGYoD8IQ https://www.youtube.com/watch?v=iYcbfc_UB6M https://www.youtube.com/watch?v=0BdN2H2nD6s https://www.youtube.com/watch?v=iWIADZKU9dw

Good genres:
Specialist for rock/metal, bonus genre being R&B

Bad genres: Rest of my library doesn’t suit it well


IEM: Final Audio E1000, Radius Deep mount tips L, stock cable 3.5mm

graph (26).png

Bass: Djuro – Drop that bass (01:15-01:30), Extends lower and rumbles more on the Falcon. Punch quantity is a bit higher on the Falcon and more textured with similar speed/tightness. More tonally correct and slightly better timbre on the Falcon.

Hiroyuki Sawano – Pretenders (01:18-01:47), quantity is higher and more textured on the Falcon, but a bit tighter and faster on the E1000. Tonality is slightly better on the E1000 (its more balanced and not as warm).

Metallica – fight fire with fire (01:11-01:52), cleaner on the Falcon due to the better separation, otherwise similar speed/tightness with better texture on the Falcon.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality is better on the E1000 (brighter) and more forward, although timbre is better on the Falcon. Instrument tonality, timbre and detail are better on the Falcon.

Evanescence – Bring me to life (01:18-01:35), peakier and a bit shoutier on the E1000.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality and timbre are a lot better on the Falcon, as well as more detailed but more forward vocals on the E1000.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are sharper on the E1000 but more tonally correct while timbre is similar.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre, texture and detail are better on the Falcon but more clarity on the E1000. Violin tonality is better on the E1000, but better detail, texture, timbre and treble-extension on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), better tonality, timbre and details on the Falcon.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), soundstage width is similar, but slightly deeper on the Falcon. Imaging, separation and detail are better on the Falcon with similar timbre.

Overall: While the graph may imply that they would share some similarities, I don’t think they are similar. The Falcon does pretty much everything better than the E1000, except for tonal balance (tends to be too warm on the Falcon) and female vocals (brighter and more forward), so the E1000 is the more versatile iem.
Falcon ProE1000

IEM: Blon BL-03 (Mesh mod), Radius Deep Mount, Cable B3 4.4mm
graph (14).png

Bass: Djuro – Drop that bass (01:15-01:30), extends and rumbles a lot more on the 03. Punch quantity is higher on it as well but tighter, faster and more textured on the Falcon. More tonally correct on the 03 with better timbre as well.

Hiroyuki Sawano – Pretenders (01:18-01:47), more mid-bass on the 03, while it is tighter, faster and more textured on the Falcon. More tonally correct on the Falcon but better timbre on the 03.

Metallica – fight fire with fire (01:11-01:52), cleaner on the Flacon due to the tighter and lower bass quantity. Similar speed though but more textured on the Falcon.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality and timbre are better on the 03 as well as more forward. Instrument tonality is quite similar although timbre is better on the 03. Micro-details are better on the Falcon but clarity is better on the 03 (due to the brighter vocal tonality).

Evanescence – Bring me to life (01:18-01:35), shoutier on the 03 and more fatiguing.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality are better on the Falcon, although more forward vocals and better timbre on the 03.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are sharper on the 03 but more accurate tonality and timbre.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and timbre are similar but better texture and detail on the Falcon. Violin tonality, timbre and air are better on the 03, Texture and detail are better on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), tonality, timbre and clarity are better on the 03.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), soundstage is wider on the 03 but a bit deeper on the Falcon. Imaging, instrument separation and micro-details are better on the Falcon. But macro-details and timbre are better on the 03.

Overall: The 03 has a more versatile tonality (matches better with my library) and more natural timbre. While the Falcon is more of a specialist for rock/metal with a more relaxing tonality.
Falcon ProBL-03 (mesh mod)

IEM: Tanchjim Oxygen, Final Audio Type E tips LL, cable A6 4.4mm
graph (15).png

Djuro – Drop that bass (01:15-01:30), extends lower and rumbles more on the Falcon. Punch quantity is also a lot higher on the Falcon with better texture, but tighter and faster on the Oxygen. Tonality and timbre are better on the Falcon.

Hiroyuki Sawano – Pretenders (01:18-01:47), A lot more bass quantity on the Falcon with more texture as well, but tighter and faster on the Oxygen. More tonally correct on the Falcon but better timbre on the Oxygen.

Metallica – fight fire with fire (01:11-01:52), a lot cleaner and more detailed on the Oxygen due to it having a lot less bass quantity and it being faster/tighter along with more treble (a lot brighter).

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), A LOT better vocal tonality (and a lot more forward) and timbre on the Oxygen. Instrument tonality is better on the Falcon but better timbre on the Oxygen. Detail and clarity are a lot better on the Oxygen.

Evanescence – Bring me to life (01:18-01:35), peakier and shoutier on the Oxygen, a lot more relaxing and non-fatiguing on the Falcon.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality and timbre are a lot better on the Falcon. Detail and clarity are better on the Oxygen though.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are sharper but has better timbre and tonality on the Oxygen.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre and texture are better on the Falcon but cleaner and more detailed on the Oxygen. Violin tonality, timbre, texture, treble-extension, detail and clarity are better on the Oxygen

Hiroyuki Sawano &Z (02:18-02:57), slightly better tonality on the Oxygen. Timbre, detail and clarity are a lot better on it as well.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), a LOT wider soundstage on the Oxygen but a bit deeper on the Falcon. Detail, imaging, detail and timbre are a LOT better on the Oxygen.

Overall: The Oxygen is the more technical iem with better female-vocals and treble. The Falcon pro is a lot more laidback with better male vocals and bass. Oxygen specializes in acoustic/vocal genres while the Falcon Pro is the rock/metal expert.
Falcon ProOxygen

IEM: Fiio FD5, Elecom EHP-CAP20, stock cable 4.4mm
graph (17).png

Djuro – Drop that bass (01:15-01:30), extends a lot lower and rumbles more on the FD5. Punch quantity is higher on the FD5 as well as more textured and faster, similar tightness though. Cleaner and more detailed on the FD5. More tonally correct and better timbre on the FD5.

Hiroyuki Sawano – Pretenders (01:18-01:47), a bit higher quantity on the Falcon with more texture, similar tightness but a bit faster on the FD5. More tonally correct on the Falcon but similar timbre.

Metallica – fight fire with fire (01:11-01:52), cleaner on the FD5 due to the lower bass quantity and it being faster along with more treble (a bit sharp on it though). Bass texture is better on the Falcon though.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality and timbre are better on the FD5 as well as more forward, detailed and cleaner. Instrument tonality is better on the Falcon Pro along with timbre, but cleaner and more detailed on the FD5.

Evanescence – Bring me to life (01:18-01:35), a lot peakier and more fatiguing on the FD5.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality is very similar but cleaner and more detailed on the FD5 with slightly better timbre on it.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), sharper electric guitars but more tonally correct, better timbre and cleaner more detailed on the FD5.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and texture are similar, but cleaner and more detailed on the FD5 with slightly better timbre on it as well. Violin tonality, texture, treble-extension, detail, timbre and clarity are better on the FD5.

Hiroyuki Sawano &Z (02:18-02:57), tonality, timbre, detail and clarity are better on the FD5.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), soundstage is a lot wider and similar deep on the FD5 and is more holographic as well. Imaging, detail, instrument separation and timbre are better on the FD5.

Overall: The FD5 is the more energetic, technical iem and is more versatile for my library. While the Falcon Pro is the more laidback and specializing in rock/metal but otherwise performs inferior to the FD5.
Falcon ProFD5

IEM: Dunu Zen, Final Audio Type E tips LL, stock cable 4.4mm
graph (18).png

Bass: Djuro – Drop that bass (01:15-01:30), extends a lot more and rumbles more on the Zen. Punch quantity is also a bit higher on the Zen and a LOT more textured on it as well as tighter and faster. A bit more tonally correct on the Zen with similar timbre.

Hiroyuki Sawano – Pretenders (01:18-01:47), a bit more quantity on the Falcon Pro but a lot more textured on the Zen as well as tighter, similar speed though. More tonally correct on the Falcon Pro with a bit better timbre as well.

Metallica – fight fire with fire (01:11-01:52), bass is cleaner on the Zen due to the lower quantity, faster/tighter and also more textured.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality, timbre, detail and clarity are a lot better on the Zen, along with much more forward vocals. Instrument tonality, timbre, micro-details and air are better on the Falcon.

Evanescence – Bring me to life (01:18-01:35), shoutier and more fatiguing on the Zen.

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality, timbre, air and micro-details are better on the Falcon.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), a lot sharper and more fatiguing electric guitars on the Zen but better tonality and timbre on it.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre, texture and detail are better on the Zen. Violin tonality, timbre and clarity are better on the Zen but airier and better timbre on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), a bit better tonality, timbre and clarity on the Zen.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), soundstage is wider on the Zen but deeper on the Falcon. Macro-detail, imaging and separation are a lot better on the Zen. Micro-detail is better on the Falcon while timbre is tied.

Overall: The Zen has a lot better bass, female vocals and technicalities, being more versatile as well. While the Falcon is the more laidback/relaxing iem with the better treble tuning, that specializes in rock/metal.
Falcon ProZen

IEM: Fiio FH3, Final Audio Type E tips LL, Cable A3 4.4mm
graph (25).png

Djuro – Drop that bass (01:15-01:30), extends a lot lower and rumbles a lot more on the FH3. Punch quantity is also higher but tighter on the FH3 with similar speed and texture. More tonally correct on the FH3 but a lot better timbre on the Falcon.

Hiroyuki Sawano – Pretenders (01:18-01:47), more mid-bass quantity on the Falcon with slightly better texture on it. But faster/tighter on the FH3. More tonally correct on the FH3 but a lot better timbre on the Falcon.

Metallica – fight fire with fire (01:11-01:52), cleaner on the FH3 due to the lower mid-bass and tighter bass, speed and texture are similar.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality is better on the FH3 with more forward vocals, but timbre and overall naturality is a lot better on the Falcon. Instrument tonality and timbre are a lot better on the Falcon.

Evanescence – Bring me to life (01:18-01:35), more relaxing and less fatiguing on the Falcon (warmer).

Hiroyuki Sawano – Scapegoat (00:57-01:17), vocal and instrument tonality and timbre are a lot better on the Falcon. While it is cleaner and has more forward vocals on the FH3.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), a bit sharper electric guitars on the FH3 but more tonally correct, although the timbre is a lot better on the Falcon.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre and texture are a lot better on the FH3 but cleaner and more detailed on the FH3. Violin tonality, treble-extension, clarity and details are better on the FH3 but timbre is better on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), tonality and detail are better on the FH3, but timbre is a lot better on the Falcon.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), Soundstage is a lot wider on the FH3 with similar depth. Detail, imaging and separation are better on the FH3, timbre and overall coherency are a lot better on the Falcon.

Overall: The FH3 is the more versatile iem due to the tuning but also has better technicalities. The Falcon wins with the timbre and in being a more laidback iem, that is specialized in rock/metal.
Falcon ProFH3

IEM: Sony XBA-N3, Final Audio Type E tips LL, cable A6 4.4mm
graph (27).png

Bass: Djuro – Drop that bass (01:15-01:30), rumbles a TON more and extends a LOT deeper on the N3. Punch quantity is a lot higher as well, but a lot looser and slower on the N3 while texture is better on the Falcon. Tonality is more correct on the N3 while timbre is similar.

Hiroyuki Sawano – Pretenders (01:18-01:47), a lot more quantity on the N3 while it is a lot faster and tighter with better texture on the Falcon. More tonally correct on the Falcon, timbre is similar.

Metallica – fight fire with fire (01:11-01:52), a LOT cleaner on the Falcon due to the lower bass quantity, a lot faster and tighter bass with more texture.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality is very similar (even the quantity) but better timbre on the Falcon. Instrument tonality is a bit better on the Falcon (not as warm and no bleed from the mid-bass), cleaner and a bit more detailed with better timbre.

Evanescence – Bring me to life (01:18-01:35), cleaner and a bit brighter on the Falcon. More relaxing on the N3.

Hiroyuki Sawano – Scapegoat (00:57-01:17), very similar vocal tonality, but cleaner and a bit more detailed with a bit better timbre on the Falcon. Instrument tonality is better (warmer) on the N3 but similar timbre, cleaner and a bit more detail on the Falcon.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are very similar tonality wise, but better timbre and cleaner on the Falcon.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and texture are better on the N3 but cleaner, more detailed and better timbre on the Falcon. Violin tonality, texture, detail and clarity are very similar but slightly better treble-extension on the N3 and a bit better timbre on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), tonality is better on the N3 but better timbre and cleaner on the Falcon.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), soundstage is a lot wider and deeper on the N3, more holographic on it. Instrument separation, imaging and detail are better on the N3 while timbre and coherency are better on the Falcon.

Overall: The Falcon Pro basically has the same mids/treble but with a lot cleaner (faster/tighter) bass with sub-bass roll-off and not as big soundstage. N3 is better if you want soundstage and sub-bass. While the Falcon Pro is better if you want a cleaner bass but still very relaxing tonality overall.
Falcon ProXBA-N3

IEM: LZ A7 (Pop-red), Final Audio Type E tips LL, cable A3 4.4mm
graph (36).png

Bass: Djuro – Drop that bass (01:15-01:30), extends lower and rumbles more on the A7. Punch quantity is a bit higher on the A7 and a bit faster. But a bit more texture and tightness on the Falcon. More tonally correct on the A7 but better timbre on the Falcon.

Hiroyuki Sawano – Pretenders (01:18-01:47), cleaner on the A7 due to the lower bass quantity and faster bass. More textured on the Falcon with similar tightness.

Metallica – fight fire with fire (01:11-01:52), cleaner on the A7, with faster and lower bass quantity. Texture is better on the Falcon but with similar tightness.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality is better on the A7 as well as with more forward and cleaner vocals, but timbre is better on the Falcon. Instrument tonality and timbre are better on the Falcon but cleaner and more detailed on the A7.

Evanescence – Bring me to life (01:18-01:35), more relaxing on the Falcon due to the warmer tonality.

Hiroyuki Sawano – Scapegoat (00:57-01:17), Vocal and instrument tonality/timbre are better on the Falcon but cleaner and more forward vocals on the A7.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars aren’t sharp on neither of them, but more tonally correct on the A7, although with better timbre on the Falcon.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality, timbre and texture are better on the Falcon but cleaner and more detailed on the A7. Violin tonality, texture, detail, clarity and treble-extension are better on the A7 but better timbre on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), tonality, clarity and detail are better on the A7 but better timbre on the Falcon.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), Soundstage is wider and deeper, more holographic on the A7. Detail, imaging and separation are better on the A7 but timbre/coherency are better on the Falcon.

Overall: The A7 is the more versatile and more technical iem that suits my library more. While the Falcon Pro is more of a specialist for rock/metal. The A7 was previously my nr 1 rec for rock/metal, but that spot is taken over by the Falcon Pro now.

Falcon ProA7

IEM: Dunu EST112, Elecom EHP-CAP20, stock cable 4.4mm
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Djuro – Drop that bass (01:15-01:30), extends lower and rumbles a bit more on the EST112. Punch quantity is a bit higher, tighter, faster and more textured as well on the EST112. Tonality is more accurate on the EST112 but timbre is better on the Falcon.

Hiroyuki Sawano – Pretenders (01:18-01:47), more bass quantity on the Falcon but tighter, faster and more textured on the EST112 and is a lot cleaner and more detailed as well.

Metallica – fight fire with fire (01:11-01:52), cleaner and a lot more detailed on the EST112. Lower bass quantity, faster, tighter and more textured on the EST112.

Mids: Hiroyuki Sawano – OldToday (01:25-01:52), vocal tonality, detail, clarity and forwardness are leagues ahead on the EST112, except the timbre. Instrument tonality and timbre are better on the Falcon but detail and clarity are leagues ahead on the EST112.

Evanescence – Bring me to life (01:18-01:35), shoutier and more fatiguing on the EST112.

Hiroyuki Sawano – Scapegoat (00:57-01:17), Vocal/instrument detail, clarity and vocal quantity are a lot better on the EST112. But more accurate tonality and timbre on the Falcon.

Treble: Linkin Park – Shadow of the Day (03:24-03:42), electric guitars are more tonally correct on the EST112 but is a bit sharp and better timbre on the Falcon.

Hiroyuki Sawano – Lose (string version) (01:22-01:59), Cello tonality and timbre are better on the Falcon, but texture, detail and clarity are a lot better on the EST112. Violin tonality, detail, treble-extension and clarity are a lot better on the EST112 while timbre is better on the Falcon.

Hiroyuki Sawano &Z (02:18-02:57), tonality, clarity and detail are better on the EST112 but better timbre on the Falcon.

Technicalities: Shiro Sagisu – Hundred years war (02:24-02:57), Soundstage is a lot wider and slightly deeper on the EST112, more holographic as well. Detail, imaging and separation are leagues ahead on the EST112. Timbre and coherency are better on the Falcon.

Overall: The EST112 is the more versatile, a lot more technical and suits my library more than the EST112. Although for rock/metal the Falcon is the better tuned iem.
Falcon ProEST112

Conclusion: While the Falcon Pro isn’t that impressive in the technicalities (bottlenecked by the tonality) and isn’t a versatile iem that doesn’t really match my library. The performance it shows with rock/metal is amazing, so if you are looking for an iem for a rock/metal library, this is currently my top recommendation for that (beating the LZ A7 for those genre). But if you don’t listen to rock/metal, then I will not really recommend it, as it is a specialist for those genres and for other genres (at least in my library) it doesn’t do them too well.

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Cable source:


Reference/test songs:
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Ah.. it's a relief to see my FH3 beats it 😆
Excellent review. Guess I'll wait for a proper upgrade under $200 from my FH3.
Fantastic review 🔝🔝🔝