The Hidizs MS2 in-ear monitor aims to deliver audiophile-level sound quality at an ultra-affordable price point. Retailing for under $80, this capable hybrid IEM utilises a configuration of one balanced armature driver and one 10.2mm dynamic driver per earpiece.
This dual-driver setup brings together strengths from both transducer technologies: bass depth and impact from the dynamic driver and top-end airiness and detail from the armature. The result is a cohesive and balanced sound with nice engagement across the frequency range.
Tonality is mildly V-shaped, providing an energetic and fun signature without major coloration. The bass has nice sub-bass rumble and added mid-bass impact while avoiding bloating or muddiness. Mids take a slight step back in the mix but retain good transparency and natural tone. Treble has crispness and extension without getting harsh or peaky.
The technical performance is impressive for the ultra-budget price bracket. Soundstage has good width, with accurate imaging lending an open, spacious quality. Separation is above average for a hybrid, allowing you to pick out individual layers and nuances. Fine details are well-defined, from subtle textures to background flourishes.
Build quality inspires confidence, with sturdy metal nozzles, removable cables, and cleanly assembled resin shells. The slick design stands out with colourful “phosphorescent” faceplates embedded with the Hidizs logo. Comfort and noise isolation are excellent for long listening sessions.
It delivers engaging, balanced tuning in a premium design well above its class.
This dual-driver setup brings together strengths from both transducer technologies: bass depth and impact from the dynamic driver and top-end airiness and detail from the armature. The result is a cohesive and balanced sound with nice engagement across the frequency range.
Tonality is mildly V-shaped, providing an energetic and fun signature without major coloration. The bass has nice sub-bass rumble and added mid-bass impact while avoiding bloating or muddiness. Mids take a slight step back in the mix but retain good transparency and natural tone. Treble has crispness and extension without getting harsh or peaky.
The technical performance is impressive for the ultra-budget price bracket. Soundstage has good width, with accurate imaging lending an open, spacious quality. Separation is above average for a hybrid, allowing you to pick out individual layers and nuances. Fine details are well-defined, from subtle textures to background flourishes.
Build quality inspires confidence, with sturdy metal nozzles, removable cables, and cleanly assembled resin shells. The slick design stands out with colourful “phosphorescent” faceplates embedded with the Hidizs logo. Comfort and noise isolation are excellent for long listening sessions.
It delivers engaging, balanced tuning in a premium design well above its class.
Attachments
The review sample was kindly provided by Hidizs in exchange for my honest and subjective evaluation.
The price is $89 and you can buy it directly from Hidizs using the following, non affiliate link.
Mermaid MS2
The Hidizs Mermaid MS2 is a hybrid, dual drivers earphone with a budget-friendly price.
It features a custom developed 10.2mm large dynamic driver with dual voice coils and dual voice chambers to achieve a pretty strong impact, fairly good sufficient depth and extension as well as excellent transient responses.
The treble is reproduced by a Knowles 33518 balanced armature driver which is optimized for a clean, crisp, clear and rich treble reproduction.
The crossover is kept as simple as possible with professional circuit AVX Tantalum Capacitors to reduce noise at audio frequency, ensure noiseless clear filtering and high fidelity in the passing of audio signals.
Cable
The Mermaid MS2 comes with a detachable cable utilizing the 2-pin 0.78mm interface, ending in a 3.5mm plug.
The quad-core braided cable has 60 high-purity silver wires and 60 high-purity oxygen-free copper wires.
Silver wires are used for a brilliant and clean sound while copper wires add smooth and gentle performance.
The cable is actually of high quality, well made and beautiful looking.
It is soft to the touch, it doesn't get tangled, it has low microphonic noise and it doesn't smell.
Build quality, appearance and fit
The MS2 has a custom - like anatomically shaped body made from skin - friendly and odorless resin with a shiny phosphorescent faceplate presenting amber feelings, with beautiful rainbow shards and an elegant Hidizs logo inside.
The ear shells are semi-transparent so you can see the internals and the drivers inside.
The MS2 is available in 5 different colors to choose from and the appearance is quite modern and youthful especially if you choose the more vivid ones.
The ear shells are compact and very lightweight, offering a secure, stable and comfortable fit which proved stress - free even after extended use.
Passive noise attenuation is not perfect but certainly above average, making the MS2 commuting and travel friendly.
Accessories
The MS2 comes bundled with a premium and beautiful looking carrying case with a classy brown leatherette outer face and velvet covered inner for effective protection of the earphones.
You don't often see such well made and luxurious carrying cases in the sub $100 category.
You also get two sets of eartips, one for balanced and the other for crispier sound, a total of six pairs nicely arranged in separate trays.
For a $89 earphone, the cable and the case are really amazing.
Listening impressions
With a rated impedance of 18Ω and pretty high sensitivity of 112dB, the MS2 is very easy to drive and your favorite USB DAC dongle will drive them with ease, just make sure that it is pretty decent and it doesn't hiss.
I have mostly used the Hidizs own S3 PRO, iBasso DC05, FiiO KA1 and Hidizs AP80 PRO-X. (review on the works)
The MS2 overall sound signature is pretty balanced and musical sounding with a touch of warmth, slightly emphasized at both ends of the spectrum but without exaggerations.
It is a tuning that is suited for all kinds of music, making the MS2 a real all rounder, you can enjoy your favorite electronic beats and at the same time listen to classical music without sacrificing much in transparency and accuracy.
Bass is only a bit emphasized, offering good sub-bass extension and a slightly warm mid-bass response but without clouding the mid-range or shadowing the other frequencies.
Technicalities are impressive given the price point, the bass is tight and controlled, fast, with good layering and clarity, there is no audible masking and you can clearly distinguish every instrument dwelling at the bass line.
Pretty impressive are also the dynamics of the earphone, the MS2 is quite impactful and has enough rumbling effect to satisfy with electronic tunes while it can convincingly reproduce the contrasted power of the large symphony orchestra.
The overall timbre is quite natural and convincing, especially in the mid-range which sounds real and organic with great levels of musicality.
Voice integrity is pretty good, the tuning is balanced, just slightly recessed but not too much for the mid-range to lose in presence and intensity.
Instruments and voices appear engaging and well blended, with clear articulation and a multicolored texture.
Upper mid-range is controlled, female voices are smooth and they don't become shouting as to cause listener fatigue.
As an example, the following album sounded really convincing with the Mermaid MS2.
The treble is satisfyingly extended for a budget IEM, the MS2 is resolving and detailed enough, crystal clear and sparkling without venturing into the sharpness territory while it can sustain higher sound volumes without becoming strident.
It cleverly avoids being too bright and piercing, it doesn't exhibit the usual harshness of budget earphones, the tuning is controlled with a touch of luminosity that makes for an airy and spacious presentation.
Most budget earphones have the tendency to sound overly thin in the higher frequencies but thankfully this is not happening with the MS2 which sounds coherent enough throughout the whole frequency range with good thickness and natural decay.
The soundstage is presented in a spacious and wide manner with pretty accurate imaging.
Don't expect anything too holographic or grand scale, nor the best depth layering but in the end you will be thoroughly satisfied with the overall presentation even with more dense and demanding material like when listening to Shostakovich's Jazz and Variety orchestral suites.
Vs the TinHiFi T3 Plus ($69)
More lightweight and less bulky than the T3 Plus, the MS2 offers a more comfortable, discreet and stress free fit but the T3 Plus is more classy and luxurious looking.
Tuning is quite close, the T3 Plus is warmer and fuller sounding, also a little more visceral in the low end and not as lean as the MS2 but the latter has better bass technicalities, is slightly more dynamic, resolving and less bright.
The MS2 is a little recessed in the mids, the T3 Plus is more concentrated on the mids but it has the tendency to become a little sharp.
Soundstage is wider on the MS2 with better imaging but the T3 Plus sounds more holographic and layered.
Both come with good quality detachable cables and a comprehensive assortment of ear tips but with the MS2 you also get the classy carrying case instead of the cloth pouch but let's not forget that it is $20 more expensive.
In the end
The Hidizs Mermaid MS2 is an excellent sounding sub $100 IEM without any serious sonic flaws, the tuning is reference - fun and enjoyable with most kinds of music.
This is a great step into high fidelity sound with a modest asking price that comes as a surprise considering the actual sound performance and the accessories pack, a real winner from Hidizs that deserves the highest praise.
Test playlist
Copyright - Petros Laskis 2022.
The price is $89 and you can buy it directly from Hidizs using the following, non affiliate link.
Mermaid MS2
The Hidizs Mermaid MS2 is a hybrid, dual drivers earphone with a budget-friendly price.
It features a custom developed 10.2mm large dynamic driver with dual voice coils and dual voice chambers to achieve a pretty strong impact, fairly good sufficient depth and extension as well as excellent transient responses.
The treble is reproduced by a Knowles 33518 balanced armature driver which is optimized for a clean, crisp, clear and rich treble reproduction.
The crossover is kept as simple as possible with professional circuit AVX Tantalum Capacitors to reduce noise at audio frequency, ensure noiseless clear filtering and high fidelity in the passing of audio signals.
Cable
The Mermaid MS2 comes with a detachable cable utilizing the 2-pin 0.78mm interface, ending in a 3.5mm plug.
The quad-core braided cable has 60 high-purity silver wires and 60 high-purity oxygen-free copper wires.
Silver wires are used for a brilliant and clean sound while copper wires add smooth and gentle performance.
The cable is actually of high quality, well made and beautiful looking.
It is soft to the touch, it doesn't get tangled, it has low microphonic noise and it doesn't smell.
Build quality, appearance and fit
The MS2 has a custom - like anatomically shaped body made from skin - friendly and odorless resin with a shiny phosphorescent faceplate presenting amber feelings, with beautiful rainbow shards and an elegant Hidizs logo inside.
The ear shells are semi-transparent so you can see the internals and the drivers inside.
The MS2 is available in 5 different colors to choose from and the appearance is quite modern and youthful especially if you choose the more vivid ones.
The ear shells are compact and very lightweight, offering a secure, stable and comfortable fit which proved stress - free even after extended use.
Passive noise attenuation is not perfect but certainly above average, making the MS2 commuting and travel friendly.
Accessories
The MS2 comes bundled with a premium and beautiful looking carrying case with a classy brown leatherette outer face and velvet covered inner for effective protection of the earphones.
You don't often see such well made and luxurious carrying cases in the sub $100 category.
You also get two sets of eartips, one for balanced and the other for crispier sound, a total of six pairs nicely arranged in separate trays.
For a $89 earphone, the cable and the case are really amazing.
Listening impressions
With a rated impedance of 18Ω and pretty high sensitivity of 112dB, the MS2 is very easy to drive and your favorite USB DAC dongle will drive them with ease, just make sure that it is pretty decent and it doesn't hiss.
I have mostly used the Hidizs own S3 PRO, iBasso DC05, FiiO KA1 and Hidizs AP80 PRO-X. (review on the works)
The MS2 overall sound signature is pretty balanced and musical sounding with a touch of warmth, slightly emphasized at both ends of the spectrum but without exaggerations.
It is a tuning that is suited for all kinds of music, making the MS2 a real all rounder, you can enjoy your favorite electronic beats and at the same time listen to classical music without sacrificing much in transparency and accuracy.
Bass is only a bit emphasized, offering good sub-bass extension and a slightly warm mid-bass response but without clouding the mid-range or shadowing the other frequencies.
Technicalities are impressive given the price point, the bass is tight and controlled, fast, with good layering and clarity, there is no audible masking and you can clearly distinguish every instrument dwelling at the bass line.
Pretty impressive are also the dynamics of the earphone, the MS2 is quite impactful and has enough rumbling effect to satisfy with electronic tunes while it can convincingly reproduce the contrasted power of the large symphony orchestra.
The overall timbre is quite natural and convincing, especially in the mid-range which sounds real and organic with great levels of musicality.
Voice integrity is pretty good, the tuning is balanced, just slightly recessed but not too much for the mid-range to lose in presence and intensity.
Instruments and voices appear engaging and well blended, with clear articulation and a multicolored texture.
Upper mid-range is controlled, female voices are smooth and they don't become shouting as to cause listener fatigue.
As an example, the following album sounded really convincing with the Mermaid MS2.
The treble is satisfyingly extended for a budget IEM, the MS2 is resolving and detailed enough, crystal clear and sparkling without venturing into the sharpness territory while it can sustain higher sound volumes without becoming strident.
It cleverly avoids being too bright and piercing, it doesn't exhibit the usual harshness of budget earphones, the tuning is controlled with a touch of luminosity that makes for an airy and spacious presentation.
Most budget earphones have the tendency to sound overly thin in the higher frequencies but thankfully this is not happening with the MS2 which sounds coherent enough throughout the whole frequency range with good thickness and natural decay.
The soundstage is presented in a spacious and wide manner with pretty accurate imaging.
Don't expect anything too holographic or grand scale, nor the best depth layering but in the end you will be thoroughly satisfied with the overall presentation even with more dense and demanding material like when listening to Shostakovich's Jazz and Variety orchestral suites.
Vs the TinHiFi T3 Plus ($69)
More lightweight and less bulky than the T3 Plus, the MS2 offers a more comfortable, discreet and stress free fit but the T3 Plus is more classy and luxurious looking.
Tuning is quite close, the T3 Plus is warmer and fuller sounding, also a little more visceral in the low end and not as lean as the MS2 but the latter has better bass technicalities, is slightly more dynamic, resolving and less bright.
The MS2 is a little recessed in the mids, the T3 Plus is more concentrated on the mids but it has the tendency to become a little sharp.
Soundstage is wider on the MS2 with better imaging but the T3 Plus sounds more holographic and layered.
Both come with good quality detachable cables and a comprehensive assortment of ear tips but with the MS2 you also get the classy carrying case instead of the cloth pouch but let's not forget that it is $20 more expensive.
In the end
The Hidizs Mermaid MS2 is an excellent sounding sub $100 IEM without any serious sonic flaws, the tuning is reference - fun and enjoyable with most kinds of music.
This is a great step into high fidelity sound with a modest asking price that comes as a surprise considering the actual sound performance and the accessories pack, a real winner from Hidizs that deserves the highest praise.
Test playlist
Copyright - Petros Laskis 2022.
Budget Wired In ear
Hidizs MS2
March 19, 2022 wiljen 907 Views 0 Comments Editdisclaimer: I was sent a kit of recent releases from Hidizs for review. That kit included the Hidizs AP80 Pro X (review on Ecoustics.com soon), the MS2 in ear (reviewed here), the S9 dongle dac, and the DH80S dac/amp that are still works in progress. I own an AP200 as well that I purchased outright as well as having reviewed the MS1, MS4, and Ap80 previously. I have no financial interest in Hidizs or any of its partners or vendors and my review was not compensated other than the earphone itself. If you have an interest in the MS2, more information can be found on Hidizs website.
Unboxing / Packaging:
The MS2 is the middle model in the line with a retail price of $89 but you wouldn’t necessarily know that to look at the packaging. The box is a lift top design with a photo of the earpiece on the front and the specs on the reverse. The Hidizs name and logo, the model name, and the knowles and Hi-res stickers on the front are all done in metallic reflective silver while the specs on the reverse are are in matte black. Lifting the top reveals the earpieces in a foam surround with the glitter bomb face plates a nice contrast to the white box. All of the other goodies are hiding underneath the foam tray. Lifting out the tray reveals a leather(ish) hard shell case that is way better than the average at this price. Inside the case we find the cable, and two styles of tips in SML for a total of 6 pairs.
Build/Fit:
The MS2 shares a good bit with the MS1 rainbow as it uses the polymer shell with an aluminum nozzle rather than the metal shell of the earlier MS1 and MS4 models. The MS2 is available in green, red, blue, purple, black, all with a transparent resin that shows the internals to varying degrees depending on the depth of color. Regardless of which color you choose, the underside of the faceplate has a glitter bomb look that makes the face plates sparkle in bright light. Nozzles exit the polymer shell at the lower point (semi-teardrop shape) with a slight forward rake that is exaggerated by the shape of the shell. Insertion depth is fairly good and isolation is aided by this. Nozzles have a large lip for tip retention as well and take standard sized tips so tip rolling is easy for those that cant find a match in the provided set. There is a single vent over the dynamic drivers on the underside of the shells that can be blocked while wearing so some adjusting to prevent blocking the vent may be needed. I found comfort quite good as these are mid-sized shells and fairly light weight so all but the smallest ears shouldn’t have fit issues.
The case deserves some discussion as well as it is better than one should expect at this price. Metal plates support the leather to prevent collapse and internal memory foam pads help keep the contents protected. The top also has a mesh pocket for accessories to further keep things from rattling around and getting scratched up.
Internals:
The MS2 is a hybrid model with a 10.2mm dynamic driver with a titanium plated diaphragm and a Knowles 33518 balanced armature. Hidizs lists the titanium plating as helping mid-bass and the 33518 adding to the top end for increased treble response and resolution. The 33518 driver is very similar to the 30095 but has a lower price point so is a common site in budget models. The dynamic driver handles the low end most of the mid-range with the balanced armature adding to the top end. The crossover is a fairly simple design with a couple of visible components directly on the rear face of the dynamic driver. Nominal impedance for the MS2 is listed as 18Ω with a sensitivity of 112dB/mW which puts it in the very easy to drive class and I found it worked well using the S9 Pro dongle or AP80 Pro X DAP. It does scale some with better sources but additional power is not needed and in some cases is actually counterproductive as with high potency sources the noise floor sometimes became evident.
Cable:
The provided cable uses rose gold accents to highlight the copper strands in the cable. The jack is a gold plated 3.5mm with a straight housing in black and rose gold with a short strain relief. The cable itself is 2 silver plated copper strands and 2 oxygen free copper strands in a clear casing. The strands are in double twist from the jack up to the splitter. Above the splitter and rose gold coin chin slider, single wires per side run to the earhooks and 0.78mm bi-pin connector in a clear housing. The right connector is marked with a red dot for indexing purposes.
Tips:
The Ms2 Ships with two styles of tips on cards for storage when not in use. I really prefer this style of storage system as it makes it easy to mark which tips came with each model when storing several. All the tips are gray translucent silicone with one set having a wide bore and a fairly shallow depth and the other having a narrower bore and a bit taller as well. The shallow/wide version enhances bass while the tall/narrow version provides a bit more balanced signature. I chose the taller/narrow bore tips for the bulk of my listening.
Sound:
Bass:
There is a moderate sub-bass emphasis with a center around 80Hz and a fairly slow taper to either side. There is notable roll-off evident below about 35Hz but above that point the sub-bass presence makes itself known. There is some rumble here but not enough to make the bass head crowd happy. The sub-bass is not as well textured as I’d prefer but that improves as we move up and there is more texture and detail in the mid-bass. Mid-bass has good slam when called upon but remains a bit more present in the mix than neutral even when not the focus of the piece. Mid-bass does have some mild bleed into the lower mids which adds a little warmth to the sound at the expense of a little detail in that area.
Mids:
Lower mids rest at the bottom of the W and are recessed notably. Male vocals have good weight and clarity if they are a step behind their higher counterparts. Guitar has good growl with enough of a sharp edge to sound realistic. Strings vary with some being quite energetic and others seeming a bit flat depending on the recording. Piano has good timbre as does acoustic guitar. There is a considerable upper-mid push that brings female vocals to the front. Be cautious of tracks that also emphasize female vocals as they can get a bit shouty and nasal if doubled up.
Treble:
The lower treble is on the same plane as the upper mids and does become the dominant feature of the Ms2 landscape. Lower treble is quite forward but the MS2 isn’t prone to sibilance at normal listening volumes. At high volume there is some stridency and more of a tendency toward sibilance so these are not the in-ears for those who want to “crank it up. There is some grain to the treble as it drops back in the 7-9kHz range which helps keep it polite. Snare rattle is good, but cymbals carry a bit too much energy at times and can come off as slightly metallic sounding as a result. There is good top end extension with final roll-off above 14kHz and enough air and sparkle to avoid feeling closed in.
Soundstage / Imaging:
The MS2 has good stage dimensions but is definitely wider than deep and seating the orchestra a bit odd as some instruments appear more side to side than front to back as a result. Instrument separation is good, but not outstanding and layering follows that same pattern. As tracks get faster, there is some evidence of compression although it takes a lot to really notice thickening of the lower registers. Imaging is good with placements being easy to recognize and track, and positions in space reasonably well defined.
Thoughts / Conclusion:
The Hidizs Ms2 is an affordable hybrid that delivers a W shaped signature that is good for EDM and popular genres. It is best listened to at lower volumes as there is some tendency to become strident as volumes go up which may be a deal breaker for some users but for those worried about protecting their hearing its actually a good barometer of when you need to turn the volume down a notch. The strong points of the MS2 are good mid-bass and treble detail with enough mids to not sound scooped out and a good driving low end to keep things going. Sub-bass has good rumble but is not over-emphasized, and imaging is good as well. They do lose a little on the stage as it is a bit shallow and on the lower mids where there is some bleed and recess as they are obviously not the star of this show. For me, I’d pull the upper-mid/lower treble back slightly and add that same amount to the lower-mids. The W tuning wont be for everyone but it is a fairly unique signature at this price point and will offer the listener something a little different than the standard big-V or harman target tuned in-ears that dominate this price bracket.
Hidizs Ms2
Introduction
The well-known Dongguan-based portable audio brand Hidizs continues to add to its Mermaid Series IEMS line-up and is releasing a new hybrid model called the MS2. The model number reflects the number of drivers it has: 1 DD + BA. The dynamic driver is a 10.2mm unit, consisting of two coils and two chambers. Its diaphragm is the result of a new Hidizs development using a macromolecular compound, version 2.0. The BA driver is none other than the RAD-33518-P183 from Knowles. In this sense, Hidizs is leaving nothing to chance and is committed to adding quality to its drivers at a very reasonable price: $89. To finish with the capsules, these have been constructed with a German eco-friendly resin body, while the mouthpieces have been gold-plated. The connection chosen for the capsules is a 2pin 0.78mm. The cable used is a mix of four core strands: two are high purity silver wires and the other two are OFC cables. To complete the product, Hidizs has provided a very distinguished packaging, featuring a beautiful storage box, in a very compact and appropriate package.
Disclaimer
Hidizs 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.
Specifications
Packaging
The MS2s come in a hard white cardboard box, almost cubic in shape, whose dimensions are 124x124x76mm. On the front side of the box there is a real photo of a capsule with its cable. The model name is located in the lower left corner. In the upper right corner is the brand logo and in the lower right corner is the Knowles logo and the Hi-Res AUDIO logo. On the back side are the specifications, in Chinese and English, as well as the company's address. After lifting the lid, one can see the capsules encased in a white mould, with the model name and the slogan "Relish Music, Beauty In The Details". Underneath the mould is a striking black hard plastic box with a white logo in the centre. It opens like a chest and is lined with rubber parts: the storage box for the IEMS, whose dimensions are an impressive Inside is the cable and two white cardboard blisters containing the silicone tips. When removing the box you can find the user manual and some warranty cards. In a summary:
I like the size and shape of the Hidizs MS2 packaging. I love the transport box, the only downside is that it is not very portable, due to its size and rigidity. But it is different and the rubber lined interior ensures the best way to protect the IEMS. I think that all the details of the packaging have been very well taken care of and the only thing that could be missing is a set of foam tips.
Construction and Design
The capsule of the Hidizs MS2 has the classic medium-sized semi-custom shape, the outer face of which is shaped like the African continent. It is very similar to the latest TFZ models I have reviewed previously. In fact, it is very similar in size, thickness and detail. The difference lies in the mouthpiece. This time it is a different, metallic, gold-plated piece. But back to the capsules, they are transparent, made of German ecological resin. My model is in transparent red, but I'm sure you can choose from a variety of colours. The outer face is a separate piece, but in the same colour, with a glitter pattern on the inside, which has reflections in shades of red and pink. The two-pin connection sits on a transparent oval plate attached to the rim of the capsule. "HIDIZS.COM" in silver lettering can be read near the connection. On the inner side of the capsules, there is a dot of the same colour. On the inside, there is a letter indicating the channel of the capsules. Nearby, there is a hole to release the pressure of the dynamic driver.
As I mentioned before, the mouthpieces are different pieces, metallic and gold plated. They are approximately 5.5mm long and consist of three parts. The base is a 1.5mm long ring with a diameter of 6.5mm. The central part is a cylinder of 2.5mm and 5.4mm in diameter. The outer crown is 1.5mm and 6mm in diameter. The mouthpiece bore is protected by a dense metal grille.
Together, the weight of both capsules, without the cable, is approximately 10 grams.
The cable consists of two strands coated with transparent insulation, wound together. Inside each of them, two thinner strands, each of a different colour, can be seen. One of them is made of high purity silver wires, the other of OFC wires. The plug is 3.5mm SE gold-plated. The connector sleeve that covers it is a 19.5mm long cylinder with a diameter of 9mm, which is made up of 4 pieces. The first and closest to the connector is black, almost 14mm long. Then there is a beautiful copper ring, just over a mm long. Again, there is another black cylinder, on the inside of which is written the name of the brand and has the characteristic that it is movable and can be rotated. Finally, the top ring is again copper, a colour I like much better than gold. The splitter piece follows the pattern of black and copper cylinders, but this time it is a symmetrical piece of 13mm in length and the same diameter. Its ends are each a copper ring of about 1mm, then comes a black cylinder on each side, ending with a larger copper ring in the middle. The pin is a 3mm copper ring with an oval hole in it, just big enough for the wires to pass through, but still able to hold them in place for a good fit. Each cable has its own transparent over-ear guide. The connectors are completely uncovered and the sleeve is transparent and semi-angled. On the inside there is a dot and a letter to indicate the channel. The blue dot and the letter L for the left channel, the red dot and the letter R for the right channel. The letters, as usual, are embossed and difficult to see, but the coloured dot is very useful to distinguish each side. Finally, the cable has a white Velcro strip, so that it can be safely tucked away. It reads "HIDIZS".
Really, I find the details of the cable quite different from the rest, as well as very elegant. I especially like the colour of the copper rings and the combination with the black. One negative point is that there are only two strands and that the pairs of each channel are "linked", even though they are made of different material.
Another point to consider is the storage box. Usually it is a cloth bag, a zippered case, even a leather case, sometimes a Pelikan box. But on this occasion it is a smooth, shiny, black plastic box, the top of which has a vertical micro-striped metal sheet with the brand's logo inscribed in white ink in the centre. The inside of the case is covered with thick black rubber, which is able to protect our beloved IEMS MS2. Simply excellent.
Adjustment and Ergonomics
The MS2 has the classic fit provided by its medium sized semi-custom shape. All edges are rounded and barely touch the ear parts. The fact that the mouthpiece is a different piece and that its base is larger, ensures that the tips do not sink more than necessary, achieving a fit that can be shallow or medium, depending on the size of the tips used. Although the depth of the insertion will depend on our morphology, as their length is not very long.
Using the right tips, the fit is very secure. The weight is not noticeable at all. The guides on the ear barely rub and the rotation is minimal.
In short, the MS2 have adopted a shape that is usually common, but which guarantees a very successful ergonomics, improving the appearance of the mouthpiece top, even gaining some point of comfort.
Sound
Profile
I find the profile of the Hidizs MS2s to be fairly balanced, with a moderately punchy mid-high, with a noticeable, but not overly exposed, treble extension. Bass is above neutral and enjoys a good level of presence and appreciable texture, without being predominant in the overall sound.
Bass
The low end of the MS2 is characterised by a fairly homogeneous level, albeit centred in the mid-bass. It has a good accentuation in the lower range, as it has a slight roll-off at this point. The amount of bass is more than what could be considered neutral, but without dominating the sound. Technically it is quite fast, compact, restrained, agile and dry. Its decay is slight and its recovery remarkable. In this way, it is able to separate the different planes quite well and differentiate them without overlapping, in a remarkable exercise of reproduction. In this sense, the weakest point is in the colour and depth: although the timbre is natural, the tone feels slightly coloured towards the mid-bass, losing that bit of depth that would have made it an excellent and very rounded bass. However, the speed of execution and its technical ability do elevate it to an outstanding performance. On the other hand, the texture is quite smooth, although this can vary depending on the source used. With a cold source such as the Hidizs DH80S, the descriptive level is high, although the texture is smooth. With the xDuoo XP-2Pro, on the other hand, the MS2s gain in roughness but become somewhat slower and less defined, something that limits their quality, in my opinion, because it hinders their resolving power and technical capability.
Mids
The midrange of the MS2 is a reiteration of many models, in the search for balance between presence, mid-high overexposure, clarity, analytical ability, detail, warmth and timbre. And I believe that, where many other tunings have failed, Hidizs has found the right spot. The low end has just the right amount of presence to give some warmth and body to the low-mids, but without a hint of intrusion. There's barely any hint of mid-range sag, despite the fact that these are not mid-centric IEMS. And the now-classic mid-high boost serves to bring clarity and liveliness, without any negative consequences or sibilance. Admittedly, this is not a distinctly warm mid-range, but I note a certain warmth that blends nicely with an analytical ability, which is capable of revealing a high level of micro detail and delicate nuances, thanks to its precise BA driver. Needless to say, the transition between both drivers is really smooth and the blend of both sounds is the result of a totally fruitful synergy. In this way, the two profiles blend together, bringing the best that each has to offer: warmth, body and naturalness on the one hand; analytical ability, clarity, separation, definition, resolution and detail on the other. All this without the sound suffering in homogeneity, balance and equilibrium. Nor in texture, which, at last, can be fully enjoyed, not only in the voices, but also in the instruments. And in this sense, the distance between the two elements is also more balanced, leaving the recordings to decide who takes the lead. Quite a delight.
Treble
Tuning a BA driver for midrange and treble in this price range can be tricky. It' s all about finding the balance in the transition from the high-mids to the highs, while keeping presence, sibilance and natural timbre in check. On this occasion, the tuning is very appropriate because it manages to splash the top of the mids, throwing the treble into an advantageous position, making it feel sharp enough to be luminous, but without falling into an over-exposure that makes it too noticeable, within the overall sound. In this way, the high end expresses itself clearly and unabashedly, but without reaching a level to consider the MS2s as brilliant. They are more than just neutral and their initial rise is characterised by remarkable definition and precision. The first high notes are fast, sparkling, very fine and sharp enough to notice their brilliance, as well as a great speed of execution and instantaneous fade. In this way, the dynamics are very good and the mark is clear, but without being a high, very extensive or predominant presence. On the other hand, technically they are favoured by coming from a Knowles BA and their timbre is vivid, somewhat cool, but without falling out of the natural range.
The initial extension is perceived as controlled, preventing the sound from becoming blatantly high-pitched, something that would make it lose balance and naturalness. Then, as the MS2s reach the upper range, they recover a good amount of air, which is much appreciated, both in clarity, separation and, above all, in the timbre of the mid-range.
Soundstage, Separation
The amount of soundstage is adequate and very much in keeping with the balance of the sound. It is not vast, but it is well proportioned. The width is sensitive and the spatiality of the sound feels reinforced, both by its level of resolution, the amount of air, the good separation and the remarkable clarity. The three-dimensionality is clearly perceptible, but the depth is not greater than the width, which limits the image to be more spherical. Thus it is perceived as more oval, with a good lateral sensation, but without a very marked enveloping character, distinguishing itself more frontal than ethereal.
As I have been saying, the separation is quite good, and both the precision and the level of resolution facilitate an analytical tendency that gives a convenient sense of darkness and silence between notes. Also, as a result of these characteristics, the level of detail is important and is capable of revealing more or less obvious micro details, but without reaching a higher level of extraction that would turn the sound into a surgical one.
Comparisons
TFZ Live 3
One could almost say, considering the frequency response, that the Live is the bass brother of the MS2.
In terms of shape they are also similar, with the TFZs being slightly smaller and less thick. The big difference, however, is in the projection of the mouthpieces. On the Live 3 they are narrower, shorter and made of the same material as the body, while on the MS2 they are metallic, larger and longer, improving the insertion depth. But the larger diameter of the nozzles is something to take into account when choosing tips.
The Live 3's cable is four-stranded, with silver-plated conductors. On the MS2 there are only two strands, but it is a hybrid 4-core cable: two are high-purity silver wires and the other two are OFC wires. The result is a thinner and more manageable cable. The connectors are of very good quality on both IEMS, but clearly different: on the MS2s, with their mix of copper and black, they surpass the classic silver finish of the TFZs in beauty and design.
As I indicated at the beginning, the Live 3 share a large part of the frequency response, from the mids onwards. But that doesn't mean that they perform equally well in that area. And it's not just because of the influence the low end can have on the rest of the sound. The fact that the MS2s have a BA driver is something that polarises their sound, making it more analytical, finer, more precise and more resolute.
The low end of the TFZs exceeds that of the MS2s in presence. But despite the big difference demonstrated in the graph, the MS2s are not bassless IEMS, as their response feels clear and very well executed. But when you switch to the TFZs, it's clear who's in charge in the low end, gaining a level of authority and presence that fills the space immensely, adding a level of oppression that borders on the physical. Although, as you might expect, the low end of the MS2s is technically very good, being very fast and accurate, with a natural timbre and a very good ability to recreate very distinguishable bass planes and lines.
In the mid-range the sound is darker in the Live 3, not because it is, but because the clarity of the MS2 is superior. It is clear that the bass impact in the mids of the MS2s is non-existent, while it is more unavoidable in the Live 3s. However, the timbre is similar in both models, it is their tendency where their difference lies. While the TFZs are warm, the Hidizs are cooler and more analytical. The lower sound density of the MS2s frees up the mids, making them clearer and more separated. The precision and level of resolution is also something that feels superior, in pursuit of a sound of greater resolution, clarity, separation and detail, where the technique overcomes the more analogue, organic and somewhat more muted sound of the Live 3. It is also clear that the relationship of the mids in the overall sound profile is different. The TFZs, with their W-profile and powerful low end, leave the mids further behind. But the graph is not to be underestimated and if the mids alone are analysed, the resemblance is great in its form. Although the performance and overall presence in the MS2s makes them the star of the show, gaining even in the development of texture, both vocals and instruments. Although it is clear that everyone will have to decide which type of sound they prefer: the smoothness in the reproduction of the Live 3 or the high explicit level of the MS2, within a more balanced profile.
In the treble the curve remains very similar, although this time the timbre does differ a little, with the MS2's accentuating the coolness and revealing a higher level of precision, thinness, speed and resolution. In the balance of the ensemble, the MS2s' treble stands out more clearly and their analytical level executes notes more sharply and narrowly, feeling crisper, more dynamic and more detailed. The extension of the treble is slightly greater in the MS2s, and the amount of air is more perceptible. In addition to the reduced presence of bass, this results in a sound with greater separation, a darker background, where the definition of the notes is more evident, as well as their edges and boundaries. As a consequence, the soundstage is perceived as wider, with a higher level of three-dimensionality and a more ethereal and immersive sound. A point is also gained in location accuracy and positioning, due to its increased analysis capability.
NS Audio NS3 Bass Enhanced Version
Another classic recommendation in my list of IEMS between $50 and $100 are the NS3, a warm IEMS, partly made of wood, which accentuates that taste for an organic and analogue sound, slightly dark, but very smooth and pleasant. Believe it or not, these NS3s are very light and comfortable. They have a slimmer and slimmer overall shape, although the mouthpieces are not designed for deep insertion.
Their sensitivity is clearly lower, requiring more power to match volumes.
In this case, apart from what can be seen in the comparison chart, the sound is very different, almost opposite. The NS3s are warm, sweet and smooth IEMS, while the MS2s are very explicit and analytical. In the quick changes between IEMS you can see the profile of each and how the sound changes from analogue to digital. But starting with the low end, the NS3s have a greater emphasis on sub-bass and a greater dominance throughout the lower range, something that creates a higher pressure and a deeper sound. You feel that their sub-bass is very well achieved, because its sonority is more perceptible, sensory and does not feel coloured, which is exactly what generates that level of depth and also darkness. The MS2's bass is dominated by technique, which is very good in terms of speed and recovery, but you can't feel the level of depth and impression that the NS3's give.
In the mids, the greater warmth and the slightly higher presence in the initial part, gives a greater body to the voices, especially the male ones, in the NS3. But I think the most important thing in this range is the profile of each one and its relationship with the source used. If a neutral or warm source is used, the characteristics of the NS3s will be enhanced. If, on the other hand, an analytical source is used, it will favour the sound of the MS2s. And in this sense, the key is there, those who are looking for texture and depth, an organic and analogue sound, with soul, with smoothness, but without giving up a great level of clarity and transparency, will opt for the NS3s. However, those who want to be able to unravel details and notes with greater precision, fullness, resolving power, analysis, a greater sense of silence and a darker background will choose the MS2s. In the same direction the timbre changes between the two, but also the influence of the upper range of both instruments plays a part in this. The notes of the instruments have a very full and firm sonority, in the MS2s, which is something you can feel in the stringed instruments. Whereas in the NS3s, their sonority is softer and perhaps a little more distant. This characteristic prevails in other musical aspects, where the MS2s are presented closer and in the foreground, in the mid-range, and this range can be observed in a very exposed and explicit way.
In the high end, each model follows its own path: smoothness in the NS3 and presence in the MS2. The higher resolution and technical capacity of the BA driver in the MS2s is something that determines the sonority of the treble, its greater presence and expressive level. And yet, there is never a loss of control, nor does it become a problem with sibilance.
The MS2s have more treble extension and a little more air. But the level of separation and detail is not only determined by these characteristics, but the driver used contributes a lot in this regard. In this way, and despite the fact that the level of stage and separation in the NS3s is very good, it is noticeable that the technology continues to advance and that the MS2s are superior, improving, above all, in the three-dimensional positioning of the elements, gaining in a wider, higher, more precise, perceptible and ethereal stereo image.
Conclusion
In reviews there are phrases and comments that a good reviewer should try to avoid. And I, with the Hidizs MS2, am biting my tongue, because I don't want to fall into the easiness of an unconditional recommendation based on those clichés. I'm going to try to focus on its excellent tuning. A priori, it seems classical within the current trend of present high mids and controlled bass. But the sound is not exactly like that: the low end has a higher power and the high mids do not feel as splashy as they seem. The result is a more balanced sound, which possesses a technical execution that surprises with its excellence, as its analytical capacity, its resolving power and definition, are of this condition. In this way, the presence in each range has a feeling of fullness and closeness, which allows the listener to enjoy all of them individually and also the many details and nuances of the music, in a clear display of balance and homogeneity. But all this does not come alone, but in a very compact packaging, with a different transport box and a cable with very elegant details.
Yes, it's very difficult for me not to say that the Hidizs MS2 is one of the best...
Sources Used During the Analysis
Ratings
You can read the full review in Spanish here:
https://hiendportable.com/2021/02/14/hidizs-ms2-review/
Purchase Link:
https://www.hidizs.net/products/hidizs-mermaid-ms2-hybrid-dual-drivers-hifi-earphones
The well-known Dongguan-based portable audio brand Hidizs continues to add to its Mermaid Series IEMS line-up and is releasing a new hybrid model called the MS2. The model number reflects the number of drivers it has: 1 DD + BA. The dynamic driver is a 10.2mm unit, consisting of two coils and two chambers. Its diaphragm is the result of a new Hidizs development using a macromolecular compound, version 2.0. The BA driver is none other than the RAD-33518-P183 from Knowles. In this sense, Hidizs is leaving nothing to chance and is committed to adding quality to its drivers at a very reasonable price: $89. To finish with the capsules, these have been constructed with a German eco-friendly resin body, while the mouthpieces have been gold-plated. The connection chosen for the capsules is a 2pin 0.78mm. The cable used is a mix of four core strands: two are high purity silver wires and the other two are OFC cables. To complete the product, Hidizs has provided a very distinguished packaging, featuring a beautiful storage box, in a very compact and appropriate package.
Disclaimer
Hidizs 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.
Specifications
- Driver Type: 1DD 10.2mm, Dual Voice Coils & Dual Voice Chambers (Hidizs Newly Developed Marcromolecule Composite Diaphragm V2.0 Version) + 1BA Knowles RAD-33518-P183.
- Frequency Response: 20Hz-40kHz
- Sensitivity: 112dB
- Impedance: 18Ω
- Jack Connector: 3.5mm SE, gold plated.
- Capsule Connection Type: 2Pin 0.78mm.
- Weight of both capsules, excluding cable: approx. 10g.
Packaging
The MS2s come in a hard white cardboard box, almost cubic in shape, whose dimensions are 124x124x76mm. On the front side of the box there is a real photo of a capsule with its cable. The model name is located in the lower left corner. In the upper right corner is the brand logo and in the lower right corner is the Knowles logo and the Hi-Res AUDIO logo. On the back side are the specifications, in Chinese and English, as well as the company's address. After lifting the lid, one can see the capsules encased in a white mould, with the model name and the slogan "Relish Music, Beauty In The Details". Underneath the mould is a striking black hard plastic box with a white logo in the centre. It opens like a chest and is lined with rubber parts: the storage box for the IEMS, whose dimensions are an impressive Inside is the cable and two white cardboard blisters containing the silicone tips. When removing the box you can find the user manual and some warranty cards. In a summary:
- The two MS2 capsules.
- One 3.5mm SE jack cable.
- One storage box.
- Three pairs of narrow channel white silicone tips, sizes SxMxL.
- Three pairs of wide channel white silicone tips, sizes SxMxL.
- User manual.
- Warranty card.
I like the size and shape of the Hidizs MS2 packaging. I love the transport box, the only downside is that it is not very portable, due to its size and rigidity. But it is different and the rubber lined interior ensures the best way to protect the IEMS. I think that all the details of the packaging have been very well taken care of and the only thing that could be missing is a set of foam tips.
Construction and Design
The capsule of the Hidizs MS2 has the classic medium-sized semi-custom shape, the outer face of which is shaped like the African continent. It is very similar to the latest TFZ models I have reviewed previously. In fact, it is very similar in size, thickness and detail. The difference lies in the mouthpiece. This time it is a different, metallic, gold-plated piece. But back to the capsules, they are transparent, made of German ecological resin. My model is in transparent red, but I'm sure you can choose from a variety of colours. The outer face is a separate piece, but in the same colour, with a glitter pattern on the inside, which has reflections in shades of red and pink. The two-pin connection sits on a transparent oval plate attached to the rim of the capsule. "HIDIZS.COM" in silver lettering can be read near the connection. On the inner side of the capsules, there is a dot of the same colour. On the inside, there is a letter indicating the channel of the capsules. Nearby, there is a hole to release the pressure of the dynamic driver.
As I mentioned before, the mouthpieces are different pieces, metallic and gold plated. They are approximately 5.5mm long and consist of three parts. The base is a 1.5mm long ring with a diameter of 6.5mm. The central part is a cylinder of 2.5mm and 5.4mm in diameter. The outer crown is 1.5mm and 6mm in diameter. The mouthpiece bore is protected by a dense metal grille.
Together, the weight of both capsules, without the cable, is approximately 10 grams.
The cable consists of two strands coated with transparent insulation, wound together. Inside each of them, two thinner strands, each of a different colour, can be seen. One of them is made of high purity silver wires, the other of OFC wires. The plug is 3.5mm SE gold-plated. The connector sleeve that covers it is a 19.5mm long cylinder with a diameter of 9mm, which is made up of 4 pieces. The first and closest to the connector is black, almost 14mm long. Then there is a beautiful copper ring, just over a mm long. Again, there is another black cylinder, on the inside of which is written the name of the brand and has the characteristic that it is movable and can be rotated. Finally, the top ring is again copper, a colour I like much better than gold. The splitter piece follows the pattern of black and copper cylinders, but this time it is a symmetrical piece of 13mm in length and the same diameter. Its ends are each a copper ring of about 1mm, then comes a black cylinder on each side, ending with a larger copper ring in the middle. The pin is a 3mm copper ring with an oval hole in it, just big enough for the wires to pass through, but still able to hold them in place for a good fit. Each cable has its own transparent over-ear guide. The connectors are completely uncovered and the sleeve is transparent and semi-angled. On the inside there is a dot and a letter to indicate the channel. The blue dot and the letter L for the left channel, the red dot and the letter R for the right channel. The letters, as usual, are embossed and difficult to see, but the coloured dot is very useful to distinguish each side. Finally, the cable has a white Velcro strip, so that it can be safely tucked away. It reads "HIDIZS".
Really, I find the details of the cable quite different from the rest, as well as very elegant. I especially like the colour of the copper rings and the combination with the black. One negative point is that there are only two strands and that the pairs of each channel are "linked", even though they are made of different material.
Another point to consider is the storage box. Usually it is a cloth bag, a zippered case, even a leather case, sometimes a Pelikan box. But on this occasion it is a smooth, shiny, black plastic box, the top of which has a vertical micro-striped metal sheet with the brand's logo inscribed in white ink in the centre. The inside of the case is covered with thick black rubber, which is able to protect our beloved IEMS MS2. Simply excellent.
Adjustment and Ergonomics
The MS2 has the classic fit provided by its medium sized semi-custom shape. All edges are rounded and barely touch the ear parts. The fact that the mouthpiece is a different piece and that its base is larger, ensures that the tips do not sink more than necessary, achieving a fit that can be shallow or medium, depending on the size of the tips used. Although the depth of the insertion will depend on our morphology, as their length is not very long.
Using the right tips, the fit is very secure. The weight is not noticeable at all. The guides on the ear barely rub and the rotation is minimal.
In short, the MS2 have adopted a shape that is usually common, but which guarantees a very successful ergonomics, improving the appearance of the mouthpiece top, even gaining some point of comfort.
Sound
Profile
I find the profile of the Hidizs MS2s to be fairly balanced, with a moderately punchy mid-high, with a noticeable, but not overly exposed, treble extension. Bass is above neutral and enjoys a good level of presence and appreciable texture, without being predominant in the overall sound.
Bass
The low end of the MS2 is characterised by a fairly homogeneous level, albeit centred in the mid-bass. It has a good accentuation in the lower range, as it has a slight roll-off at this point. The amount of bass is more than what could be considered neutral, but without dominating the sound. Technically it is quite fast, compact, restrained, agile and dry. Its decay is slight and its recovery remarkable. In this way, it is able to separate the different planes quite well and differentiate them without overlapping, in a remarkable exercise of reproduction. In this sense, the weakest point is in the colour and depth: although the timbre is natural, the tone feels slightly coloured towards the mid-bass, losing that bit of depth that would have made it an excellent and very rounded bass. However, the speed of execution and its technical ability do elevate it to an outstanding performance. On the other hand, the texture is quite smooth, although this can vary depending on the source used. With a cold source such as the Hidizs DH80S, the descriptive level is high, although the texture is smooth. With the xDuoo XP-2Pro, on the other hand, the MS2s gain in roughness but become somewhat slower and less defined, something that limits their quality, in my opinion, because it hinders their resolving power and technical capability.
Mids
The midrange of the MS2 is a reiteration of many models, in the search for balance between presence, mid-high overexposure, clarity, analytical ability, detail, warmth and timbre. And I believe that, where many other tunings have failed, Hidizs has found the right spot. The low end has just the right amount of presence to give some warmth and body to the low-mids, but without a hint of intrusion. There's barely any hint of mid-range sag, despite the fact that these are not mid-centric IEMS. And the now-classic mid-high boost serves to bring clarity and liveliness, without any negative consequences or sibilance. Admittedly, this is not a distinctly warm mid-range, but I note a certain warmth that blends nicely with an analytical ability, which is capable of revealing a high level of micro detail and delicate nuances, thanks to its precise BA driver. Needless to say, the transition between both drivers is really smooth and the blend of both sounds is the result of a totally fruitful synergy. In this way, the two profiles blend together, bringing the best that each has to offer: warmth, body and naturalness on the one hand; analytical ability, clarity, separation, definition, resolution and detail on the other. All this without the sound suffering in homogeneity, balance and equilibrium. Nor in texture, which, at last, can be fully enjoyed, not only in the voices, but also in the instruments. And in this sense, the distance between the two elements is also more balanced, leaving the recordings to decide who takes the lead. Quite a delight.
Treble
Tuning a BA driver for midrange and treble in this price range can be tricky. It' s all about finding the balance in the transition from the high-mids to the highs, while keeping presence, sibilance and natural timbre in check. On this occasion, the tuning is very appropriate because it manages to splash the top of the mids, throwing the treble into an advantageous position, making it feel sharp enough to be luminous, but without falling into an over-exposure that makes it too noticeable, within the overall sound. In this way, the high end expresses itself clearly and unabashedly, but without reaching a level to consider the MS2s as brilliant. They are more than just neutral and their initial rise is characterised by remarkable definition and precision. The first high notes are fast, sparkling, very fine and sharp enough to notice their brilliance, as well as a great speed of execution and instantaneous fade. In this way, the dynamics are very good and the mark is clear, but without being a high, very extensive or predominant presence. On the other hand, technically they are favoured by coming from a Knowles BA and their timbre is vivid, somewhat cool, but without falling out of the natural range.
The initial extension is perceived as controlled, preventing the sound from becoming blatantly high-pitched, something that would make it lose balance and naturalness. Then, as the MS2s reach the upper range, they recover a good amount of air, which is much appreciated, both in clarity, separation and, above all, in the timbre of the mid-range.
Soundstage, Separation
The amount of soundstage is adequate and very much in keeping with the balance of the sound. It is not vast, but it is well proportioned. The width is sensitive and the spatiality of the sound feels reinforced, both by its level of resolution, the amount of air, the good separation and the remarkable clarity. The three-dimensionality is clearly perceptible, but the depth is not greater than the width, which limits the image to be more spherical. Thus it is perceived as more oval, with a good lateral sensation, but without a very marked enveloping character, distinguishing itself more frontal than ethereal.
As I have been saying, the separation is quite good, and both the precision and the level of resolution facilitate an analytical tendency that gives a convenient sense of darkness and silence between notes. Also, as a result of these characteristics, the level of detail is important and is capable of revealing more or less obvious micro details, but without reaching a higher level of extraction that would turn the sound into a surgical one.
Comparisons
TFZ Live 3
One could almost say, considering the frequency response, that the Live is the bass brother of the MS2.
In terms of shape they are also similar, with the TFZs being slightly smaller and less thick. The big difference, however, is in the projection of the mouthpieces. On the Live 3 they are narrower, shorter and made of the same material as the body, while on the MS2 they are metallic, larger and longer, improving the insertion depth. But the larger diameter of the nozzles is something to take into account when choosing tips.
The Live 3's cable is four-stranded, with silver-plated conductors. On the MS2 there are only two strands, but it is a hybrid 4-core cable: two are high-purity silver wires and the other two are OFC wires. The result is a thinner and more manageable cable. The connectors are of very good quality on both IEMS, but clearly different: on the MS2s, with their mix of copper and black, they surpass the classic silver finish of the TFZs in beauty and design.
As I indicated at the beginning, the Live 3 share a large part of the frequency response, from the mids onwards. But that doesn't mean that they perform equally well in that area. And it's not just because of the influence the low end can have on the rest of the sound. The fact that the MS2s have a BA driver is something that polarises their sound, making it more analytical, finer, more precise and more resolute.
The low end of the TFZs exceeds that of the MS2s in presence. But despite the big difference demonstrated in the graph, the MS2s are not bassless IEMS, as their response feels clear and very well executed. But when you switch to the TFZs, it's clear who's in charge in the low end, gaining a level of authority and presence that fills the space immensely, adding a level of oppression that borders on the physical. Although, as you might expect, the low end of the MS2s is technically very good, being very fast and accurate, with a natural timbre and a very good ability to recreate very distinguishable bass planes and lines.
In the mid-range the sound is darker in the Live 3, not because it is, but because the clarity of the MS2 is superior. It is clear that the bass impact in the mids of the MS2s is non-existent, while it is more unavoidable in the Live 3s. However, the timbre is similar in both models, it is their tendency where their difference lies. While the TFZs are warm, the Hidizs are cooler and more analytical. The lower sound density of the MS2s frees up the mids, making them clearer and more separated. The precision and level of resolution is also something that feels superior, in pursuit of a sound of greater resolution, clarity, separation and detail, where the technique overcomes the more analogue, organic and somewhat more muted sound of the Live 3. It is also clear that the relationship of the mids in the overall sound profile is different. The TFZs, with their W-profile and powerful low end, leave the mids further behind. But the graph is not to be underestimated and if the mids alone are analysed, the resemblance is great in its form. Although the performance and overall presence in the MS2s makes them the star of the show, gaining even in the development of texture, both vocals and instruments. Although it is clear that everyone will have to decide which type of sound they prefer: the smoothness in the reproduction of the Live 3 or the high explicit level of the MS2, within a more balanced profile.
In the treble the curve remains very similar, although this time the timbre does differ a little, with the MS2's accentuating the coolness and revealing a higher level of precision, thinness, speed and resolution. In the balance of the ensemble, the MS2s' treble stands out more clearly and their analytical level executes notes more sharply and narrowly, feeling crisper, more dynamic and more detailed. The extension of the treble is slightly greater in the MS2s, and the amount of air is more perceptible. In addition to the reduced presence of bass, this results in a sound with greater separation, a darker background, where the definition of the notes is more evident, as well as their edges and boundaries. As a consequence, the soundstage is perceived as wider, with a higher level of three-dimensionality and a more ethereal and immersive sound. A point is also gained in location accuracy and positioning, due to its increased analysis capability.
NS Audio NS3 Bass Enhanced Version
Another classic recommendation in my list of IEMS between $50 and $100 are the NS3, a warm IEMS, partly made of wood, which accentuates that taste for an organic and analogue sound, slightly dark, but very smooth and pleasant. Believe it or not, these NS3s are very light and comfortable. They have a slimmer and slimmer overall shape, although the mouthpieces are not designed for deep insertion.
Their sensitivity is clearly lower, requiring more power to match volumes.
In this case, apart from what can be seen in the comparison chart, the sound is very different, almost opposite. The NS3s are warm, sweet and smooth IEMS, while the MS2s are very explicit and analytical. In the quick changes between IEMS you can see the profile of each and how the sound changes from analogue to digital. But starting with the low end, the NS3s have a greater emphasis on sub-bass and a greater dominance throughout the lower range, something that creates a higher pressure and a deeper sound. You feel that their sub-bass is very well achieved, because its sonority is more perceptible, sensory and does not feel coloured, which is exactly what generates that level of depth and also darkness. The MS2's bass is dominated by technique, which is very good in terms of speed and recovery, but you can't feel the level of depth and impression that the NS3's give.
In the mids, the greater warmth and the slightly higher presence in the initial part, gives a greater body to the voices, especially the male ones, in the NS3. But I think the most important thing in this range is the profile of each one and its relationship with the source used. If a neutral or warm source is used, the characteristics of the NS3s will be enhanced. If, on the other hand, an analytical source is used, it will favour the sound of the MS2s. And in this sense, the key is there, those who are looking for texture and depth, an organic and analogue sound, with soul, with smoothness, but without giving up a great level of clarity and transparency, will opt for the NS3s. However, those who want to be able to unravel details and notes with greater precision, fullness, resolving power, analysis, a greater sense of silence and a darker background will choose the MS2s. In the same direction the timbre changes between the two, but also the influence of the upper range of both instruments plays a part in this. The notes of the instruments have a very full and firm sonority, in the MS2s, which is something you can feel in the stringed instruments. Whereas in the NS3s, their sonority is softer and perhaps a little more distant. This characteristic prevails in other musical aspects, where the MS2s are presented closer and in the foreground, in the mid-range, and this range can be observed in a very exposed and explicit way.
In the high end, each model follows its own path: smoothness in the NS3 and presence in the MS2. The higher resolution and technical capacity of the BA driver in the MS2s is something that determines the sonority of the treble, its greater presence and expressive level. And yet, there is never a loss of control, nor does it become a problem with sibilance.
The MS2s have more treble extension and a little more air. But the level of separation and detail is not only determined by these characteristics, but the driver used contributes a lot in this regard. In this way, and despite the fact that the level of stage and separation in the NS3s is very good, it is noticeable that the technology continues to advance and that the MS2s are superior, improving, above all, in the three-dimensional positioning of the elements, gaining in a wider, higher, more precise, perceptible and ethereal stereo image.
Conclusion
In reviews there are phrases and comments that a good reviewer should try to avoid. And I, with the Hidizs MS2, am biting my tongue, because I don't want to fall into the easiness of an unconditional recommendation based on those clichés. I'm going to try to focus on its excellent tuning. A priori, it seems classical within the current trend of present high mids and controlled bass. But the sound is not exactly like that: the low end has a higher power and the high mids do not feel as splashy as they seem. The result is a more balanced sound, which possesses a technical execution that surprises with its excellence, as its analytical capacity, its resolving power and definition, are of this condition. In this way, the presence in each range has a feeling of fullness and closeness, which allows the listener to enjoy all of them individually and also the many details and nuances of the music, in a clear display of balance and homogeneity. But all this does not come alone, but in a very compact packaging, with a different transport box and a cable with very elegant details.
Yes, it's very difficult for me not to say that the Hidizs MS2 is one of the best...
Sources Used During the Analysis
- Hidizs DH80S
- S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN
- E1DA #9038D
- xDuoo XP-2Pro
- Ikko ITM05 Music Patch
Ratings
- Construction and Design: 85
- Adjustment/Ergonomics: 84
- Accessories: 88
- Bass: 86
- Mids: 90
- Treble: 90
- Separation: 91
- Soundstage: 91
- Quality/Price: 93
You can read the full review in Spanish here:
https://hiendportable.com/2021/02/14/hidizs-ms2-review/
Purchase Link:
https://www.hidizs.net/products/hidizs-mermaid-ms2-hybrid-dual-drivers-hifi-earphones
O
OleOlafOle
Need a recommendation. All eartips that accompany my Hidizs MS2 are too large for me, even the smallest ones. When I use my fingers and keep pressure on the IEMs having them deeper in my ear canal, I hear more frequencies and a better sounstage on these. Can anyone tell me about even smaller ear tips? Is there a code to ear tip sizes I can rely on? Anyone else who found the smallest ear tips in the package too large still and found a good solution? Sorry for the noobish question but I´m rather new to IEMs. 
cqtek
My problem is just the opposite, I need extra large tips. So I have never looked for extra small tips.
