NiceHCK F1 Pro Planar Universal IEM
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NICEHCK is an audio company that specialises on upgraded cables and other audio accessories, and then they try to venture out on earbuds and IEMs. NICEHCK products are also known for its build quality and craftsmanship at reasonable price.
This is actually my second product review of their new IEM line-up model and what I've got here is their latest entry-level planar IEM, The NICEHCK F1 PRO. The F1 PRO has a 14.2mm planar magnetic driver with ultra thin diaphragm with high-grade neodymium magnets and co-axial magnetic design. With this configuration, it will produce a consistent performance and greatly reduce distortion. And as we all know that planar magnetics are known to have fast, precise and very responsive performance that gives them more leverage in terms of technical performance.
The drivers are encased in a light yet solid aluminium alloy shell chassis which have a compact teardrop design. The shell chassis was produced via CNC-milling process and it was sand-blasted to give that appealing look that exudes premium and finesse. NICEHCK employs a 2-pin connector on this one as it is the most stable and easier to detach in case of cable swapping.
As for fitting and comfort, with its compact form factor, this set will give a good seal and passive noise isolation as it rests well into our lugholes that are able to block some external noises from the outside surroundings.
Regarding its stock cable, Since this is a NICEHCK product, we expect a nice quality cable from this one and they deliver it. The stock cable has a 2-core high purity OCC and silver-plated copper that were braided tightly. The earhook receptacle shield, chin slider and plug shield are made of metal alloy, and on its termination plug, you can choose either a standard 3.5mm single ended or a 4.4mm balanced that are gold-plated for better conductivity ans resistant to corrosion.
On how its presents its overall product packaging, NICEHCK did a good job on how they packed the contents of F1 PRO to its packaging box. The placements of content inside of its bulky, rectangular box are well-organised.
Here are the following contents inside of NICEHCK F1 PRO packaging box:
- Pair of NICEHCK F1 PRO IEM transducers.
- Stock cable
- PU leather case
- Three (3) pairs of balanced bore grey-coloured silicone ear tips in different standard sizes.
- Three (3) pairs of balanced bore opaque white ear tips in different standard sizes.
- Four (4) pairs of “EP-EX11” ear tips in different standard sizes.
- Pair of white-coloured, wide bore ear tips.
- Paperwork like user's manual and warranty card.
Like a typical planar set, F1 PRO needs more power output just to drive it properly as planar magnetic structure itself is design to take more current than voltage output that makes it less power efficient compared to other drivers like dynamic driver and balanced armature driver. A dedicated DAP with medium and high gain mode, DAC/Amp dongle or desktop headphone amplifier are better pairing for this set.
As for tonality, NICEHCK F1 PRO has a U/V-shaped sound signature that makes it sound more coloured sounding. It has more accentuated bass and treble response and a notched midrange presentation.
LOWS/BASS:
For a magnetic planar set, the bass response of this one is quite fast, punchy and rumbly. It seems that it is more focused on sub-bass than the mid-bass but the latter has enough texture for bass-centric instruments not to sound too lean.
On the sub-bass, there's a perceivable reverberation coming from low tone bass guitars, synthesisers and drum machines. As I mentioned about the note weight texture on its mid-bass, the bass guitars have resonant yet a bit hollowed sound while bass kick drums have that thudding and gloomy sound, and then on bass-baritone vocals, they sounds a bit light and less deeper that affects the vocal texture but it has some resonance presence on their voices.
MIDRANGE:
On how this set was tuned, the midrange presentation is quite recessed and a tad hollowed sounding particularly on some vocals and instruments. But somehow, it sounds clean, detailed and energetic that will be more beneficial on most female vocals and instruments like strings and woodwinds.
Male vocals are noticeable a tad leaner on texture particularly on baritones as it sounds a bit inadequate of plushiness and richness that I prefer. Tenors' vocals have those spiciness and tinny characteristics on their voices while countertenors sound tender with an added brim on their vocals. On female vocals, contraltos sounds less rich and less smoky that it doesn't have that depth for those low chesty vocal register. Mezzo-sopranos have these fiery and coppery sounds on their vocal characteristics and sopranos have a gleaming and metallic sound that lyric and coloratura-type will have those energetic and expansive sounding.
On instruments, brasses like trumpets, trombones and horns, they have these metallic, penetrating and clear sounds respectively. Woodwinds such as concert flutes, piccolos, clarinets and saxophones, the sounds of the flutes are somehow clear and shrill, piccolos sound penetrating with brilliance on them, clarinets have incisive and reedy that even saxophones share similar characteristics with them. As for string instruments, violins have metallic and bright sound while guitars either acoustic or electric ones, have crisp and lingering sound on them. On percussion instruments, snare and tom-toms have this resonant, dry and cracking sound on them, field drums have this sharp and menacing sound and kettledrums have a dry and deep sound on it. And then, it appears that pianos have bright and lively sound on every stroke of its keys.
HIGHS/TREBLE:
The treble response of this set is definitely on the brighter side of tuning as the emphasis on the upper-mids up to the brilliance part is quite noticeable. With its elevated upper-mids and presence part of the treble region gives a more sharper attack, definition and clarity on instruments and female vocals but at the expense of occasional slight sibilance especially in sibilant-laden tracks (try Seventh Son Of The Seventh Son by Iron Maiden if ever).
There's a good amount of sparkle and excellent treble air extension on how it affects some instruments like cymbals, hi-hats, glockenspiels and celestas. Cymbals have these sizzling, metallic and dry sounds while hi-hats have these buzzing sounds albeit it's a bit exaggerated in terms of decay as they are known to have a sudden shortened sound. Glockenspiels have a glistening and a tad piercing sound while celestas have a glistening and sweet sound.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
On how I perceived the size of its general sound/speaker stage, it has an above-average to wide lateral span on both ends, good height reach and depth for a planar set. The overall dimension of its sound field gives me that moderately spacious head room within my aural sphere.
Its stereo imaging gives me a concave-like presentation where I was able to locate some placement of instruments and vocals in a soundscape. While it has a good separation, I noticed that its layering present appears to be in two-layer rather than the standard four layers that I usually experience on most planar sets that I've tested. But at least it doesn't sound congested and disorganised on playing some complex multi-instrumental tracks.
Like all planar sets, the F1 PRO is no different in terms of coherency of its driver performance as it has a very fast and responsive transient speed without any distortion on its sound quality.
On resolution capabilities, F1 PRO is quite very resolving on both macro-dynamics and micro-detail retrieval as it has a sufficient note texture with sharp definition on extracting any sonic nuances and detail like vocal ends, reverberations and notation attacks of instruments.
PEER COMPARISONS:
KEFINE KLANAR
- Like the F1 PRO, it also has a metal-alloy shell chassis and similar-sized magnetic planar albeit it has some added composite material that makes it even more responsive and power efficient. The KLANAR is quite easy to drive even for a magnetic planar set.
- As for tonality, KLANAR has a V-shaped sound profile as it has more emphasis on bass and treble region which share a similar sound signature with the F1 PRO but on the treble, KLANAR is quite smooth and well-balanced response that sibilance and harshness are subdued and well-controlled.
- On technical performance, it is also similar in terms of sound/speaker staging, stereo imaging and coherency, but the KLANAR is quite better in terms of layering but less sharper of micro-detail definition.
KIWI EARS MELODY
- KIWI EARS’ first magnetic planar IEM for the entry-level audio market. It has a smaller size planar magnetic driver that was encased in a medium-sized composite shell chassis. Like all KIWI EARS products, the MELODY has a meagre amount of inclusions.
- MELODY has uncommon tuning for a planar set as while it has a v-shaped signature, it is quite warm sounding for a magnetic planar. It has more mid-bass texture that it might sound a bit too boomy, a warm and rich midrange presentation and smooth yet less airy treble response.
- As for technical capabilities, like the F1 PRO, the MELODY has similar sound/speaker stage dimensions, imaging, separation and coherency. But the MELODY has a better layering presentation but again less resolving particularly on micro-dynamics that F1 PRO has more sharper definition.
As I conclude this product assessment, NICEHCK F1 PRO makes a statement that a set with planar magnetic driver could have a musical tonality to have a fun and engaging sound while maintaining a good technical performance. For sure that energetic and tizzy sheen timbre that planar magnetic driver aren't for everyone's preference as it doesn't that natural tone and dynamics that most dynamic driver sets could deliver but what makes this set truly as compelling one was its pricing, the quality of its overall construction and a fun factor of its coloured sound that makes it more enjoyable and even more engaging to listen upon.
NICEHCK F1 PRO is now available on NICEHCK OFFICIAL STORE on ALIEXPRESS. Check out the unaffiliated link below.
★★NICEHCK OFFICIAL STORE - ALIEXPRESS★★
For more review on a NICEHCK product, I provided a link down.
● NICEHCK DB2
SPECIFICATION:
MODEL: NICEHCK F1 PRO
IMPEDANCE: 16Ω
SENSITIVITY: 104dB
FREQUENCY RESPONSE: 20Hz – 28KHz
CABLE LENGTH: 1.2M
PIN TYPE: 0.78mm 2-PIN CONNECTOR
PLUG TYPE: 3.5mm, 4.4mm
DRIVER UNIT(S): (1) PLANAR MAGNETIC DRIVER
Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
P.S.
I am not affiliated to NICEHCK nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to Ms. VIVIAN for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.
NiceHCK, established in 2015, has become a respected name in the budget audiophile market. They offer a diverse array of products, such as iems, earbuds, and upgrade cables. Known for their commitment to quality, NiceHCK delivers top-notch performance at reasonable prices. Their products boast excellent sound performance, durable construction, and attractive pricing. Among their successful releases are the NX7 Pro IEMs, EBX21 Earbuds, and the flagship Top Guy IEMs.
The NiceHCK F1 Pro was on my radar as a potential pair of iems to try out. Having previously experienced a variety of budget planar iems, including the Letshuoer S15, Kefine Klanar, Hidizs MP145, and Shozy P20, I felt like I had already reviewed some of the best offerings in this category. However, the buzz surrounding the F1 Pro persisted, and I was fortunate enough to receive a pair from NiceHCK for trying out. Overall, the F1 Pro intrigued me with its unique combination of features, and I was eager to see how it stacked up against other planar IEMs in its price range. I'm thankful for the opportunity, and it's important to note that my opinions remain unbiased despite the source of the product.
F1 Pro is available here: Ali Express Link and on Amazon here: Link
It is available to buy here in India here: Link. It can be bought from Hifigo: Link
Rating Criteria:
I want to lay out my rating criteria before we start off. For me, the primary criterion for evaluating audio gear is its intrinsic value rather than its price tag. A higher price doesn't always correlate with superior quality, and similarly, a low-priced product can give enough listening pleasure for it to be called outstanding. I consider the build, features, and, most importantly, the impact on the listening experience. The fundamental purpose of audio gear is to enhance the listening experience. So for me, this degree of enhancement in the listening experience is a key determinant in rating a product.
Rating below 4: I really won't be posting reviews of such items unless someone has asked for them.
Rating of 4: The product is good, and some users may find it more satisfactory, but it does come with a few caveats, such as price, fit, etc.
Rating of 4.5: The product is excellent and comes with an easy recommendation, reflecting its high quality and overall positive attributes.
Rating of 5: This product can be deemed groundbreaking, a trendsetter, and an eye-opener and deserves a spot on everyone's list due to its exceptional features and outstanding performance.
Configuration (from the website):
Design, build, and fit:
These iems have a metallic body and a solid construction that ensures durability and longevity. They are lightweight. Their compact size and ergonomic design make them comfortable to use for extended periods of time.
The cable is of good quality and nicely finished; it comes with a 2-pin connection and a 4.4mm adapter included. The case included is built well and feels durable too. The white color of the cable pairs well with the blue color of the iem shells.
There is a decent set of eartips that come with these iems. I tried them with some other tips as well: Spinfit W1 and Azla SendnaFit Light eartips. Both of these tips go really well. The nozzle is average length; a tip with a long stem can fit well too. This nozzle length can accommodate quite a lot of different eartips, so fit is not much of an issue on these iem.
I find the isolation in these iems above average. With the right choice of good fitting eartips, it can easily block some level of noise from outside. In my time with these iems, I did not find any driver flex issues. In my experience, I encountered no issues of pressure buildup during my time with these iems.
Sound Analysis:
F1 Pro turned out to be a nice surprise. The sound has a decent balance of fun and musicality. It has a V-shaped sound profile.
The bass department excels on these iems. The bass has a very solid impact and a decent punch. The subbass has a good presence. The quality of bass is quite good, with decent layering and texturing. The bass, though having a nice quantity, does not bleed into the mids and leaves it clean.
The midrange is not as forward as to my liking. The lower midrange is recessed, while the upper midrange still manages to come out in the front. While the mids are not a strong point for these iems, I find the weight in the midrange quite pleasing. The upper midrange is tuned really well, devoid of harshness and fatiguing peaks. However, there is extra energy and some instances of thinness in the upper mids region.
These iems handle treble really well. The treble is smooth, extends quite well, maintains energy, and has a nice level of detail. There are instances of sibilance and slight peakiness, which is not a regular thing. I would term it a borderline brightness for sensitive people.
On the technical front, these iems are decent. The soundstage has an average width, and the depth is quite decent. There is decent spaciousness. There is great clarity in the sound, and things come out quite detailed. There is decent instrument separation as well, which is evident even on tracks where there are complex musical passages. From the point of view of the planar driver, I do not find the notorious metallic glare to be prominent.
In terms of driveability, these iems do need a bit of extra juice to shine. Though they are easy to drive, they need powerful sources to show their full potential. They pair well with both the sources I tried, LPGT and Earmen Angel. I find sound to have better dynamics from a more powerful source.
Comparisons:
With Hidizs MP145 (139 usd):
MP145 has an extraordinary soundstage, a very vivid out-of-the-head experience. Technically, MP145 is ahead of F1 Pro
The bass is on the leaner side of MP145. Also, the planar timbre is not very pronounced on these, but the timbre and tonality on the F1 Pro are definitely better. MP145 is the brighter of the two.
The size of the MP145 shells is massive, so the F1 Pro has a much better fit and is lighter of the two. I find the cable on F1 Pro to be better.
With Kefine Klanar (90 USD):
In terms of fit, these iems are quite comfortable. They are both light and not quite big.
I love the bass on Klanar, which goes deep and has enough impact. However, F1 Pro has a better bass body and more impact. The subbass on F1 Pro goes deeper.
Technically, Klanar does not have the blackest background and cleanest sound, and there is a bit of a hazy presentation. F1 Pro has better resolution. I find F1 Pro to be more musical too.
With Shozy P20 ($139 USD):
In terms of fit these iems are quite comfortable. They both are light and not quite big. P20 has more resemblance with the Klanar in terms of shape and size.
In terms of bass, the P20 has more midbass impact, and the subbass does not go deep enough. F1 Pro has more enjoyable bass.
In terms of technicality, F1 Pro excels with better imaging and more depth in the soundstage.
Additionally, P20 has a more pronounced metallic timbre.
Conclusion:
F1 Pro, though one of the many planar iems on the market, is not just another planar iem. It stands out from others in its category by delivering a sound profile that is a balance of both fun and musicality. The bass is promising; there are nice technical aspects to these iems and these all set these iems apart from other planar iems. This product, as a whole package, offers great value for money. Though certainly not the best, it surely is an easy recommendation in the sub-100 USD category. I rate it 4/5
The NiceHCK F1 Pro was on my radar as a potential pair of iems to try out. Having previously experienced a variety of budget planar iems, including the Letshuoer S15, Kefine Klanar, Hidizs MP145, and Shozy P20, I felt like I had already reviewed some of the best offerings in this category. However, the buzz surrounding the F1 Pro persisted, and I was fortunate enough to receive a pair from NiceHCK for trying out. Overall, the F1 Pro intrigued me with its unique combination of features, and I was eager to see how it stacked up against other planar IEMs in its price range. I'm thankful for the opportunity, and it's important to note that my opinions remain unbiased despite the source of the product.
F1 Pro is available here: Ali Express Link and on Amazon here: Link
It is available to buy here in India here: Link. It can be bought from Hifigo: Link
Rating Criteria:
I want to lay out my rating criteria before we start off. For me, the primary criterion for evaluating audio gear is its intrinsic value rather than its price tag. A higher price doesn't always correlate with superior quality, and similarly, a low-priced product can give enough listening pleasure for it to be called outstanding. I consider the build, features, and, most importantly, the impact on the listening experience. The fundamental purpose of audio gear is to enhance the listening experience. So for me, this degree of enhancement in the listening experience is a key determinant in rating a product.
Rating below 4: I really won't be posting reviews of such items unless someone has asked for them.
Rating of 4: The product is good, and some users may find it more satisfactory, but it does come with a few caveats, such as price, fit, etc.
Rating of 4.5: The product is excellent and comes with an easy recommendation, reflecting its high quality and overall positive attributes.
Rating of 5: This product can be deemed groundbreaking, a trendsetter, and an eye-opener and deserves a spot on everyone's list due to its exceptional features and outstanding performance.
Configuration (from the website):
Design, build, and fit:
These iems have a metallic body and a solid construction that ensures durability and longevity. They are lightweight. Their compact size and ergonomic design make them comfortable to use for extended periods of time.
The cable is of good quality and nicely finished; it comes with a 2-pin connection and a 4.4mm adapter included. The case included is built well and feels durable too. The white color of the cable pairs well with the blue color of the iem shells.
There is a decent set of eartips that come with these iems. I tried them with some other tips as well: Spinfit W1 and Azla SendnaFit Light eartips. Both of these tips go really well. The nozzle is average length; a tip with a long stem can fit well too. This nozzle length can accommodate quite a lot of different eartips, so fit is not much of an issue on these iem.
I find the isolation in these iems above average. With the right choice of good fitting eartips, it can easily block some level of noise from outside. In my time with these iems, I did not find any driver flex issues. In my experience, I encountered no issues of pressure buildup during my time with these iems.
Sound Analysis:
F1 Pro turned out to be a nice surprise. The sound has a decent balance of fun and musicality. It has a V-shaped sound profile.
The bass department excels on these iems. The bass has a very solid impact and a decent punch. The subbass has a good presence. The quality of bass is quite good, with decent layering and texturing. The bass, though having a nice quantity, does not bleed into the mids and leaves it clean.
The midrange is not as forward as to my liking. The lower midrange is recessed, while the upper midrange still manages to come out in the front. While the mids are not a strong point for these iems, I find the weight in the midrange quite pleasing. The upper midrange is tuned really well, devoid of harshness and fatiguing peaks. However, there is extra energy and some instances of thinness in the upper mids region.
These iems handle treble really well. The treble is smooth, extends quite well, maintains energy, and has a nice level of detail. There are instances of sibilance and slight peakiness, which is not a regular thing. I would term it a borderline brightness for sensitive people.
On the technical front, these iems are decent. The soundstage has an average width, and the depth is quite decent. There is decent spaciousness. There is great clarity in the sound, and things come out quite detailed. There is decent instrument separation as well, which is evident even on tracks where there are complex musical passages. From the point of view of the planar driver, I do not find the notorious metallic glare to be prominent.
In terms of driveability, these iems do need a bit of extra juice to shine. Though they are easy to drive, they need powerful sources to show their full potential. They pair well with both the sources I tried, LPGT and Earmen Angel. I find sound to have better dynamics from a more powerful source.
Comparisons:
With Hidizs MP145 (139 usd):
MP145 has an extraordinary soundstage, a very vivid out-of-the-head experience. Technically, MP145 is ahead of F1 Pro
The bass is on the leaner side of MP145. Also, the planar timbre is not very pronounced on these, but the timbre and tonality on the F1 Pro are definitely better. MP145 is the brighter of the two.
The size of the MP145 shells is massive, so the F1 Pro has a much better fit and is lighter of the two. I find the cable on F1 Pro to be better.
With Kefine Klanar (90 USD):
In terms of fit, these iems are quite comfortable. They are both light and not quite big.
I love the bass on Klanar, which goes deep and has enough impact. However, F1 Pro has a better bass body and more impact. The subbass on F1 Pro goes deeper.
Technically, Klanar does not have the blackest background and cleanest sound, and there is a bit of a hazy presentation. F1 Pro has better resolution. I find F1 Pro to be more musical too.
With Shozy P20 ($139 USD):
In terms of fit these iems are quite comfortable. They both are light and not quite big. P20 has more resemblance with the Klanar in terms of shape and size.
In terms of bass, the P20 has more midbass impact, and the subbass does not go deep enough. F1 Pro has more enjoyable bass.
In terms of technicality, F1 Pro excels with better imaging and more depth in the soundstage.
Additionally, P20 has a more pronounced metallic timbre.
Conclusion:
F1 Pro, though one of the many planar iems on the market, is not just another planar iem. It stands out from others in its category by delivering a sound profile that is a balance of both fun and musicality. The bass is promising; there are nice technical aspects to these iems and these all set these iems apart from other planar iems. This product, as a whole package, offers great value for money. Though certainly not the best, it surely is an easy recommendation in the sub-100 USD category. I rate it 4/5
Introduction
NiceHCK has always been a renowned brand for cables, accessories and other stuff, but apart from some very interesting old releases (such as the Bro, the EZ Audio D4, the NX7 and some of their earbuds like the EBX and EB2) they have never been among the most discussed brands.With the “planar battle” going on, they decided to step in with some stuff, and among their newest sets the F1 Pro, featuring a planar driver, is the one that received most interest.
Disclaimer: the NiceHCK F1 Pro were sent to me by NiceHCK free of charge so that I could write an honest review. This review represents my personal opinion on the set and it is by no means a promotional or paid content.
At the time of the review, the NiceHCK F1 Pro were on sale for €114 on NiceHCK's Official Aliexpress Store.
Technical Specifications
- Driver Configuration → 1 x 14,2mm Planar driver
- Impedance → 16 Ω
- Sensitivity → 104 dB/mW
- Frequency Range → 20Hz-28kHz
- Cable → 1,20m 5N copper silver plated cable with 0.78mm 2-PIN connectors
- Plug Type → straight gold plated 4.4.mm jack connector
Packaging
The NiceHCK F1 Pro come in a very simple yet well organized package that contains:- The NiceHCK F1 Pro
- 3 sets of different eartips (wide bore, shallow bore and medium bore diameter)
- The detachable 4.4mm cable with 2-PIN connectors
- A sturdy carry case covered by leatherette
- User manuals and instructions
Design and Build Quality
The NiceHCK F1 Pro look very clean and well assembled, with no imperfections around their Metal Aluminum Alloy shells or on the nozzle. The shell diameter isn’t very big because the company has chosen to have a thicker shell instead of a longer and larger one.The light blue painting is opaque, so they’re not fingerprint magnets, and the little golden triangle showing on the faceplate doesn’t look very showy. Also, the “F1 Pro” naming on the shell is very discrete since it’s printed on the back of the IEMs and doesn’t appear with shiny and high contrast colors on the faceplate (which would be honestly a bit weird).
The ear-facing side of the shell has a pressure vent to prevent pressure buildup issues and the nozzle is of average size for nowadays’ planar sets (I’ve seen bigger ones around).
Cable
The 4.4mm is clearly something you would want only if you are plugging these to a balanced output, but NiceHCK also sells the F1 Pro with 3.5mm jack cables so it’s up to the customer (you have to choose the right model before adding them to cart).The pre-made hooks are comfortable, there is a chin slider, and overall it’s a very nice cable with no real cons.
NiceHCK also provided me with one of their Cyan 4.4mm cables, and it’s a very interesting one. It’s a braided cable that I am sure will last long, and has a very different look from your average rubberized cable.
There is no difference in terms of sound when compared to the stock cable, but the Cyan cable is definitely more “unique” in terms of overall feeling and looks.
And here's a bonus pic of the F1 Pro with the Cyan braided 4.4mm cable:
Comfort and Isolation
Comfort is fairly good since the shells are not large, and most people will find these very comfortable. Using tips with longer nozzle tubes is recommended, even though the included stock tips do the job very well.Isolation is average.
Sound
GEAR USED FOR THE TEST- DAC: Topping E30
- AMP: Topping L30, Fiio A3
- Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
- Dongle: Apple Type-C dongle
- Portable DAPs: Benjie S8/AGPTEK M30B
- Other sources: Presonus AudioBox iONE, Elgato Wave XLR, KZ AZ10, Moondrop May’s DSP cable with PEQ=0
Do they need an amplifier?
No, the NiceHCK F1 Pro don’t strictly need an amplifier. They scale a bit with some power but it’s not a night and day difference so I don’t think it’s really worth it to buy a specific dongle just for these.
Sound signature
The NiceHCK F1 pro follow a U-shaped signature with some emphasis on the lower range and low-mid treble.
NOTE: looking at some graphs online, it seems like the F1 Pro sound VERY SIMILAR to the Letshuoer S12 Pro. I do not own the latter so I cannot compare them, but I really suggest you read some reviews and comparisons to understand which one is the better.
Lows
The sub-bass is not visceral and exaggeratedly rumbly, instead it extends well in a very controlled manner, touching the lowest notes with no real issues, providing for very solid foundations for almost every track one can think of.
The bass is punchy and has more than satisfying speed that makes the F1 Pro good for fast-paced tracks that involve multiple loops of rapid basslines. Planar drivers generally tend to deliver faster thus leading to a less natural representation of kickdrums, and the F1 Pro is no exception: in fact, the low-end is still less natural than similarly priced DD IEMs due to the faster decay, even though more technical than most of them. In addition, the low-end boost helps a bit the overall note weight even though it’s still not on par with a traditional DD.
It’s not basshead’s material for sure, so beware of this, but it’s still a very compelling option for those seeking for some added bass while still enjoying a speedy and qualitative low end.
Mids
The midrange is generally recessed and kind of laidback, but it’s warm and very smooth, particularly during the reproduction of male vocals and acoustic instruments. Male vocals are pretty nice to listen to on the F1 Pro, and they are never covered by the bass shelf that instead helps them gain some more depth and warmth. Female vocals are upfront thanks to the ear gain that emphasizes the upper-midrange region, giving them more energy, even though their timbre is not always on point accurate and there could be some instances of sibilance due to the lower treble lift. In any case, the upper midrange is in a nice sweet spot, and apart from those above-mentioned episodes of sibilance, these are not very intense nor shouty and this makes them suitable for those who think the Harman target is too intense. The occasional sibilance is the only drawback of this upper midrange, considering the overall tuning of the F1 Pro.
Highs
The lower treble is emphasized and this combines with the upper midrange to have some added energy during the reproduction of most vocals and instruments such as trumpets, electric guitars, cellos and so on, even though this comes at the cost of some sibilance here and there (as said while talking about the midrange).
There’s a good amount of detail and it’s possible to catch-up some small nuances as well, and even It’s not the most detailed set in this price bracket, it’s definitely one of the few on which detail retrieval capabilities aren’t paired with a very fatiguing and harsh treble (which is great news). In fact, the treble is safer than some other planars for sure, so most folks will likely find these pretty smooth to listen to, but there’s still a peak between the lower and mid treble that could annoy the most sensitive out there.
Soundstage is of average size but there’s no direction that sacrifices another and this is good news; let’s say the F1 Pro portray a well rounded (yet not too expansive) sonic scene. The imaging is fairly good in most cases, although different heights of vocals and instruments in orchestras aren’t pinpointed with razor sharp precision (nitpicking).
Some comparisons:
NiceHCK F1 Pro vs Hidizs MP145
The MP145 have a similar response until the upper range, but the use of a different shell (and acoustic chamber) and a different driver make them pretty different.The MP145 have a more powerful and punchy low-end with a more rumbly low-end, which sounds slightly more natural than on the F1 Pro. The midrange feels less scooped with more upfront vocals and instruments, and the treble is a bit more detailed and open-sounding (even though a bit less safe). Soundstage is also bigger and deeper on the MP145 with just a tad better imaging on the MP145.
Build quality is very good on both sets, but the shells are very different, with the MP145 being a lot bulkier than the F1 pro, thus making the latter generally more comfortable for the masses.
The stock cable is good on both sets, and both come with a generous set of tips. Isolation is slightly better with the MP145 in the ears.
The MP145 are more expensive but they are generally superior, and since they also come with tuning filters they are also more versatile in general. The price difference is justified by the above said differences, so the F1 Pro are a nice pick only if you have a limited budget or smaller ears.
NiceHCK F1 Pro vs KZ PR2
Very different.The PR2 Pro were part of a “drama” due to the fact that the first batches had a piece of foam on the back of the driver, whereas the more recent ones didn’t, making them very different from the first graphs (and reviews, since early reviewers have spoken about the “with-foam” batch).
The PR2 have more sub-bass, hotter upper mids and a more aggressive treble region. The F1 Pro has less sub-bass, a cleaner and faster bass (yet less punchy) and an overall more mature and refined upper midrange and treble that make them a lot less fatiguing than KZ’s cheaper planar set. Soundstage is a bit wider on the PR2 but height and depth are better on the F1 Pro, which also happen to have a more precise imaging, clearer layering and better instrument separation.
The F1 Pro win when it comes to build quality, stock cable, provided tips and isolation, whereas comfort is comparable.
Overall, the F1 Pro come out as more refined and better sounding IEMs that show more attention to details (their price is higher, but the difference in price is worth it).
NiceHCK F1 Pro vs Celest Phoenixcall
The Celest Phoenixcall feature a SPD patented driver (whichi is not a traditional planar driver) and they also sport balanced armatures and a dynamic driver, things that make them a hybrid set.When compared to the NiceHCK F1 Pro, the Phoenixcall sound very different even though both have a recessed midrange (the Phoenixcall are more V-shaped though).
The sub-bass on the F1 Pro digs deeper and is more forward, while the bass quantity is similar. The midrange is more recessed on the Phoenixcall and in this regard the F1 Pro take the lead in terms of timbre and naturalness during the reproduction of both male and female vocals. The treble is generally more refined and has better extension on the F1 Pro, but the Phoenixcall are more detailed and more resolving overall.
The soundstage is wider on the Phoenixcall and slightly deeper on the F1 Pro, while height is very similar. Imaging is precise on both sets with the Phoenixcall being a tad more precise at pinpointing instruments, vocals and enemies during gaming sessions.
They look both very good, but the Phoenixcall have a very unique and distinctive design and the shells are more comfortable. In addition, the Phoenixcall insulate a lot better from external noises.
They both come with good stock cables but Phoenixcall’s stock cable is more premium to the touch and looks a bit more durable.
Both are very nice sets, and deciding which one to buy isn’t an easy choice for sure. I’d say that if you want the more resolving set among the two, then the Phoenixcall will have a bit more to offer, at the expense of a less natural and a brighter sound. If you instead prefer a more versatile set with more accurate timbre, slightly better upper treble extension and a less recessed midrange, then the F1 Pro are the ones to get.
NiceHCK F1 Pro vs Moondrop May
The sub-bass is more emphasized and extends a bit better on the Moondrop May (also thanks to the traditional dynamic driver) and bass is slightly punchier and a bit slower than on the F1 Pro, contributing to slightly better note weight. The F1 Pro, instead, have faster transients and handles very fast basslines in a better way. The midrange sounds more natural on the May with more accurate male and female vocals, but the F1 Pro are better at portraying instruments’ details and separating them. Details are better on the F1 Pro that are also brighter than the May, which instead sound slightly more open-sounding and smoother in comparison.Imaging is better on the F1 Pro, whereas the Moondrop May have a slightly wider soundstage (even though the F1 Pro have more stage depth).
Build quality is very good on both sets, both ship with a nice cable (even though the May come with a DSP cable, which is more “useful” and interesting) and both are very comfortable. Isolation is a bit better while wearing the May. Another thing to say is that the F1 Pro are shipped with a wider choice of tips, which basically makes tip rolling an effortless task.
Overall, the May are the smarter choice for those who search for a more accurate and musical representation, while the F1 Pro are way better from a technical standpoint (imaging, speed, details, instrument separation and so on).
Final Thoughts
The NiceHCK F1 Pro are interesting thanks to their small shells, their tuning and the very nice technicalities. It’s not the most detailed IEM out there and they probably won’t be for those looking for an IEM with forward and richer mids or delicious vocals, but it’s an intriguing and technical product for those that like sets with some bass and treble lift, an engaging and more colored sound and would like to try a competent and easy to drive planar set.Nothing comes "free of charge" and in fact there are still some timbre imperfections and some sibilance here and there, but overall it's a well done IEM that ticks many boxes.
I wouldn't buy these at full price, but they have been discounted a couple times already and could be bought for less than €100 with the Cyan cable included, which represents a good value combo.
Sidenote: if it’s true that the F1 Pro sound almost as good as the S12 Pro (I do not know this, I am just making an hypothesis), then these will become even more interesting with some coupons or discounts on Aliexpress, since they already cost less money than the S12 Pro.
Tonality vs Technicality - which camp are you in?
Is it really a binary equation though? Sure, some listeners swear by transducers with supremely natural tonality even if technical performance is poor, and of course you'll find others who feel the opposite.
However I suspect most of us fall somewhere in the middle of the spectrum, perhaps preferring IEMs that sound natural but accepting of those that don't if the technical performance tradeoff feels worth it.
Which brings me to the F1 Pros NiceHCK sent in exchange for a review - equipped with a single 14.2mm planar driver my thoughts immediately race back to the other planar IEMs I've tried, which frequently offer superb technical performance at the cost of lousy tonality.
It'll be fascinating to see if the F1 Pros sound similar... but hang on, don't NiceHCK make cables??
Their cables tend to be great bang for buck, but I didn't even know they made IEMs.
This one could get interesting... or ugly. You've been warned!
The F1 Pros arrive in a small cardboard box containing a leather carry case that's small enough to be practical, a warranty card, three sets of silicone eartips and the IEMs & stock cable.
You can order the F1 Pros with your choice of 3.5mm or 4.4mm-terminated 2pin stock cable which boasts OCC copper & silver-plated copper conductors, feels pleasantly supple & looks quite premium.
In my cable tests the stock cable actually performs surprisingly well, but given NiceHCK's audio cable heritage perhaps that's no surprise!
The F1 Pros’ small aluminium alloy shells are extremely light, and thanks to their smoothly sculpted form are extremely comfortable in the ear - IEMs I can wear for hours with no discomfort.
Fully vented for pressure relief, they're beautifully machined and feel very smooth to the touch. Indeed their finish & aesthetic qualities are such I wouldn't baulk if their price were considerably higher.
Isolation levels are decent, but suffer because there isn’t a lot of mass blocking the ear canal compared to larger, multi-driver IEMs. They're OK for noisy public transport trips, just not ideal.
The stock cable aids comfort by being extremely pliable & light. I'm a big fan of two-wire cables which look neater than braided alternatives, visually I find that minimalism so appealing.
I tested the F1 Pros with my Hiby R6 Pro II set to hi-gain in AB mode, at a volume level of 24.
It's at once noticeable they're fairly V-shaped with very airy treble and a surprisingly wide soundstage, and thanks to their planar drivers technical performance is excellent for this price bracket.
Bass
Sub bass goes very deep on the F1 Pros. Although there’s a decent amount of heft, bass texture can be a little pillowy but there’s a fair amount of rumble and slam. Music which tends to focus on sub bass rather than midbass tends to sound more satisfying on the F1 Pros.
Bassheads may be disappointed by the insubstantial bass texture & may yearn for even greater quantity, but there’s enough bass present to really enjoy bass-driven genres whilst preserving a feeling of clarity.
Midrange
This is where the key drawback of a planar driver is felt - the F1 Pro midrange suffers from the same slightly unnatural tonality plaguing other planar driver IEMs.
NiceHCK have managed to curb the worst planar tendencies so it’s not as metallic as other planer IEMs I’ve heard, but there's a feeling of hollowness to male & female vocals which tend to lack body, though they have the virtue of being very resolving.
Treble
Treble is quite emphasised, which is where the F1 Pros really excel & differentiate themselves from the competition. Low-cost IEMs typically deliver very simplified treble that can often be quite grainy, but that’s not the case here.
Instead F1 Pro treble is refined & effortless with an abundance of detail, with quantity tastefully boosted so it gets more of your attention. Treble isn't excessively bright to my ears but I wouldn’t want it any more intense either, so you if you're treble sensitive the F1 Pros may push your tolerance levels.
The first thing to jump out is the F1 Pro’s soundstage. It’s not only enviably wide, even by the standards of earphones worth hundreds of dollars, but demonstrates a surprising amount of depth. There’s a feeling of spaciousness conveyed we rarely see at this price.
Resolution is excellent considering its a single driver doing all the work - another strength of planar drivers. I really don’t get the sense one driver is struggling to cover the entire frequency spectrum here the way I do with most single-DD IEMs, particularly budget variants. In fact resolution feels impressively spread throughout the frequency spectrum, not just concentrated in the midrange.
Then there’s the impressive speed of planar drivers which is definitely evident – the F1 Pros have no issues keeping up with complex passages of music in a way many single-DD’s struggle with.
Dynamics and imaging are both very solid without jumping out as strong attributes. From an overall technical perspective the F1 Pros do a commendable job of imitating multi-driver hybrid performance with just a single planar driver.
NiceHCK DB2 – 1xDD (USD $22)
I'm busy working on a review of the DB2s, and ergonomically they've impressed with insanely light shells in a nicely sculpted form factor, though for some reason feel bigger in the ears than they look. Requiring only 17 volume on the R6P2 they're extremely easy to drive.
It feels awkward being critical of an IEM worth just $22, so instead I'll say this - if you're thinking of buying a NiceHCK IEM... please do yourself a favour and just spend the $77 more on the F1 Pro instead.
The DB2's DD-fuelled midrange tonality is a little more natural than the F1 Pro's planar driver, but the F1 Pro's are vastly higher in resolution, with a wider & deeper soundstage, much stronger & more impactful bass, feel far less-congested & can keep up with fast-paced music much better.
ISN Neo1 – 1xDD (USD $39)
Another IEM I'll be reviewing soon, the Neo1s are extremely light & well-sculpted to my ear geometry, as such they're superbly comfortable. Even isolation is brilliant particularly given how light they are, making them a perfect for commuting. Needing just 19 volume on the R6P2 they’re easy to drive.
The Neo1s definitely have more midbass but a bit less sub bass, and with greater lower midrange output they sound much more tonally satisfying. However like the DB2’s their single-DD isn’t as fast as the F1 Pro’s planar driver, nor does it cover the entire frequency spectrum as effortlessly.
Neo1 resolution isn't as high nor do they feel remotely as refined, with F1 Pro treble in particular being a big step up. By comparison the Neo1s come across as raw & slightly congested, they're tuned to feel a little punchier with greater midbass output which definitely suits genres like Rock music, but the F1 Pros are performing at a higher technical level across the board.
Truthear Zero – 2xDD (USD $49)
Despite being bulky the Zeros are very light, and fit far better than you’d think by looking at them. Isolation however is merely average as they don’t seem to seal off the ear canal quite as well as some of the more sculpted IEMs out there. Requiring 25 volume on the R6P2 they need a bit of power to drive.
The Zeroes sound more open simply because they don’t seal as well, so their soundstage has the illusion of greater width but is distractingly flat with no depth whatsoever. Note weight is also lower, dynamics are worse, bass is much less impactful and bass texture is very mushy.
Midrange tonality is slightly more appealing on the Zeros which is the one area they pull ahead of the F1 Pros, but treble is much lower in both quantity & quality and resolution is also far inferior.
Simgot EM6L – 4xBA 1xDD (USD $109)
The EM6L shells are very heavy and I do notice this weight even during short listening sessions, however their shape is fairly comfortable & isolation is impressive thanks to all that mass. Requiring 24 volume on the R6P2 they require a bit of power to drive.
I can tell the EM6Ls are multi-driver hybrids as they allow instruments to remain distinct during complex passages even better than the F1 Pros, though they're not quite as coherent. They have a smoother, less excited presentation but sound flatter and less dynamic. Nor does the EM6L midrange tonality impress me thanks to their Harman-target tuning, in fact I almost prefer the F1 Pros' tonally.
Vocals are set further back on the EM6Ls and at times feel annoyingly distant, treble is a bit more prominent on the F1 Pros but treble quality feels similar between the two IEMs, though bass is definitely less impactful & lower in quantity on the EM6Ls and their soundstage is narrower.
NiceHCK Blacksoul (USD $50)
Blacksoul is a cable that's useful for rolling off excessive treble to create a darker sound, though it doesn't seem to blunt the F1 Pros' treble terribly much in this somewhat disappointing pairing.
Vocals come forward and dynamics improve slightly, and there's a bit more note weight. However there's more upper-midrange presence why may explain why I actually prefer the stock cable's tonality.
Penon Vocal (USD $69)
In this decent pairing the F1 Pro midrange tonality does improve slightly, perhaps as the result of more midbass being added which also seems to result in slightly better note weight.
The soundstage is a little narrower but a touch deeper, the presentation is a little flatter & less excited, which would be nice for long listening sessions but I do miss the extra treble sparkle of the stock cable.
NiceHCK FirstTouch (USD $89)
FirstTouch tones down the treble down as expected, but also delivers a blacker background that results in sharper imaging & improved midrange resolution - the trait I most associate with this cable.
The soundstage is deeper but slightly narrower, and the overall tonality feels a bit smoother & more natural making this quite a good cable pairing.
Effect Audio Ares S 4 Wire (USD $179)
If you like midbass then Ares S is always a solid bet, so it's no surprise the F1 Pro's midbass is boosted which helps make bass feel a bit punchier, and the tonality also becomes a bit earthier & more natural.
Vocals also feel a bit more defined & spotlit against instruments around them, treble feels muted but only slightly and not to the extent it's reduced by some of the other cables. Soundstage dimensions feel largely unchanged, but on the basis of tonality & bass improvements this is an impressive pairing.
As my first opportunity to try a NiceHCK IEM and listen to a planar IEM for longer than a few minutes I wasn't sure what to expect from the F1 Pros.
For just $99 these are exceedingly easy to recommend if you're a "technicality over tonality" kind of listener like I am. Now don't get me wrong, believable & naturalistic tonality is something I value highly, particularly for vocal-centric genres.
Unfortunately the world of audio is one of compromises, where you're forced to choose which shortcomings you can live with regardless of how much you spend - I'm sorry folks, but perfection does not exist even at the highest echelons of expenditure despite our fantasies whispering otherwise!
Which brings me back to the F1 Pros. If you can live with their weaker tonality & fairly prominent treble, the resolution, coherency & technical performance they deliver for $99 is stunning.
Minor quibble? None of the cables I tried seemed to upgrade their performance as much as I hoped, which could just mean the stock cable is great & you shouldn't feel obliged to change it.
The F1 Pros really demonstrate the potential of planar drivers. I'm still waiting for the explosion of Planar/BA/EST hybrids onto the market many predicted two years ago, but this level of performance for under $100 gets me very excited for the next generation of planar IEMs around the corner.
Is it really a binary equation though? Sure, some listeners swear by transducers with supremely natural tonality even if technical performance is poor, and of course you'll find others who feel the opposite.
However I suspect most of us fall somewhere in the middle of the spectrum, perhaps preferring IEMs that sound natural but accepting of those that don't if the technical performance tradeoff feels worth it.
Which brings me to the F1 Pros NiceHCK sent in exchange for a review - equipped with a single 14.2mm planar driver my thoughts immediately race back to the other planar IEMs I've tried, which frequently offer superb technical performance at the cost of lousy tonality.
It'll be fascinating to see if the F1 Pros sound similar... but hang on, don't NiceHCK make cables??
Their cables tend to be great bang for buck, but I didn't even know they made IEMs.
This one could get interesting... or ugly. You've been warned!
Packaging
The F1 Pros arrive in a small cardboard box containing a leather carry case that's small enough to be practical, a warranty card, three sets of silicone eartips and the IEMs & stock cable.
You can order the F1 Pros with your choice of 3.5mm or 4.4mm-terminated 2pin stock cable which boasts OCC copper & silver-plated copper conductors, feels pleasantly supple & looks quite premium.
In my cable tests the stock cable actually performs surprisingly well, but given NiceHCK's audio cable heritage perhaps that's no surprise!
Ergonomics
The F1 Pros’ small aluminium alloy shells are extremely light, and thanks to their smoothly sculpted form are extremely comfortable in the ear - IEMs I can wear for hours with no discomfort.
Fully vented for pressure relief, they're beautifully machined and feel very smooth to the touch. Indeed their finish & aesthetic qualities are such I wouldn't baulk if their price were considerably higher.
Isolation levels are decent, but suffer because there isn’t a lot of mass blocking the ear canal compared to larger, multi-driver IEMs. They're OK for noisy public transport trips, just not ideal.
The stock cable aids comfort by being extremely pliable & light. I'm a big fan of two-wire cables which look neater than braided alternatives, visually I find that minimalism so appealing.
Sound Impressions
I tested the F1 Pros with my Hiby R6 Pro II set to hi-gain in AB mode, at a volume level of 24.
It's at once noticeable they're fairly V-shaped with very airy treble and a surprisingly wide soundstage, and thanks to their planar drivers technical performance is excellent for this price bracket.
Bass
Sub bass goes very deep on the F1 Pros. Although there’s a decent amount of heft, bass texture can be a little pillowy but there’s a fair amount of rumble and slam. Music which tends to focus on sub bass rather than midbass tends to sound more satisfying on the F1 Pros.
Bassheads may be disappointed by the insubstantial bass texture & may yearn for even greater quantity, but there’s enough bass present to really enjoy bass-driven genres whilst preserving a feeling of clarity.
Midrange
This is where the key drawback of a planar driver is felt - the F1 Pro midrange suffers from the same slightly unnatural tonality plaguing other planar driver IEMs.
NiceHCK have managed to curb the worst planar tendencies so it’s not as metallic as other planer IEMs I’ve heard, but there's a feeling of hollowness to male & female vocals which tend to lack body, though they have the virtue of being very resolving.
Treble
Treble is quite emphasised, which is where the F1 Pros really excel & differentiate themselves from the competition. Low-cost IEMs typically deliver very simplified treble that can often be quite grainy, but that’s not the case here.
Instead F1 Pro treble is refined & effortless with an abundance of detail, with quantity tastefully boosted so it gets more of your attention. Treble isn't excessively bright to my ears but I wouldn’t want it any more intense either, so you if you're treble sensitive the F1 Pros may push your tolerance levels.
Technical Performance
The first thing to jump out is the F1 Pro’s soundstage. It’s not only enviably wide, even by the standards of earphones worth hundreds of dollars, but demonstrates a surprising amount of depth. There’s a feeling of spaciousness conveyed we rarely see at this price.
Resolution is excellent considering its a single driver doing all the work - another strength of planar drivers. I really don’t get the sense one driver is struggling to cover the entire frequency spectrum here the way I do with most single-DD IEMs, particularly budget variants. In fact resolution feels impressively spread throughout the frequency spectrum, not just concentrated in the midrange.
Then there’s the impressive speed of planar drivers which is definitely evident – the F1 Pros have no issues keeping up with complex passages of music in a way many single-DD’s struggle with.
Dynamics and imaging are both very solid without jumping out as strong attributes. From an overall technical perspective the F1 Pros do a commendable job of imitating multi-driver hybrid performance with just a single planar driver.
IEM Comparisons
I compared the F1 Pros to similarly-priced IEMs on the Hiby R6 Pro II set to hi-gain in AB mode, with the F1 Pros requiring a volume of 24.NiceHCK DB2 – 1xDD (USD $22)
I'm busy working on a review of the DB2s, and ergonomically they've impressed with insanely light shells in a nicely sculpted form factor, though for some reason feel bigger in the ears than they look. Requiring only 17 volume on the R6P2 they're extremely easy to drive.
It feels awkward being critical of an IEM worth just $22, so instead I'll say this - if you're thinking of buying a NiceHCK IEM... please do yourself a favour and just spend the $77 more on the F1 Pro instead.
The DB2's DD-fuelled midrange tonality is a little more natural than the F1 Pro's planar driver, but the F1 Pro's are vastly higher in resolution, with a wider & deeper soundstage, much stronger & more impactful bass, feel far less-congested & can keep up with fast-paced music much better.
ISN Neo1 – 1xDD (USD $39)
Another IEM I'll be reviewing soon, the Neo1s are extremely light & well-sculpted to my ear geometry, as such they're superbly comfortable. Even isolation is brilliant particularly given how light they are, making them a perfect for commuting. Needing just 19 volume on the R6P2 they’re easy to drive.
The Neo1s definitely have more midbass but a bit less sub bass, and with greater lower midrange output they sound much more tonally satisfying. However like the DB2’s their single-DD isn’t as fast as the F1 Pro’s planar driver, nor does it cover the entire frequency spectrum as effortlessly.
Neo1 resolution isn't as high nor do they feel remotely as refined, with F1 Pro treble in particular being a big step up. By comparison the Neo1s come across as raw & slightly congested, they're tuned to feel a little punchier with greater midbass output which definitely suits genres like Rock music, but the F1 Pros are performing at a higher technical level across the board.
Truthear Zero – 2xDD (USD $49)
Despite being bulky the Zeros are very light, and fit far better than you’d think by looking at them. Isolation however is merely average as they don’t seem to seal off the ear canal quite as well as some of the more sculpted IEMs out there. Requiring 25 volume on the R6P2 they need a bit of power to drive.
The Zeroes sound more open simply because they don’t seal as well, so their soundstage has the illusion of greater width but is distractingly flat with no depth whatsoever. Note weight is also lower, dynamics are worse, bass is much less impactful and bass texture is very mushy.
Midrange tonality is slightly more appealing on the Zeros which is the one area they pull ahead of the F1 Pros, but treble is much lower in both quantity & quality and resolution is also far inferior.
Simgot EM6L – 4xBA 1xDD (USD $109)
The EM6L shells are very heavy and I do notice this weight even during short listening sessions, however their shape is fairly comfortable & isolation is impressive thanks to all that mass. Requiring 24 volume on the R6P2 they require a bit of power to drive.
I can tell the EM6Ls are multi-driver hybrids as they allow instruments to remain distinct during complex passages even better than the F1 Pros, though they're not quite as coherent. They have a smoother, less excited presentation but sound flatter and less dynamic. Nor does the EM6L midrange tonality impress me thanks to their Harman-target tuning, in fact I almost prefer the F1 Pros' tonally.
Vocals are set further back on the EM6Ls and at times feel annoyingly distant, treble is a bit more prominent on the F1 Pros but treble quality feels similar between the two IEMs, though bass is definitely less impactful & lower in quantity on the EM6Ls and their soundstage is narrower.
Cable Comparisons
As always I'll test how the F1 Pros respond to cable rolling, which will be interesting given their single-driver configuration - I find multi-driver IEMs generally benefit more from cable upgrades.NiceHCK Blacksoul (USD $50)
Blacksoul is a cable that's useful for rolling off excessive treble to create a darker sound, though it doesn't seem to blunt the F1 Pros' treble terribly much in this somewhat disappointing pairing.
Vocals come forward and dynamics improve slightly, and there's a bit more note weight. However there's more upper-midrange presence why may explain why I actually prefer the stock cable's tonality.
Penon Vocal (USD $69)
In this decent pairing the F1 Pro midrange tonality does improve slightly, perhaps as the result of more midbass being added which also seems to result in slightly better note weight.
The soundstage is a little narrower but a touch deeper, the presentation is a little flatter & less excited, which would be nice for long listening sessions but I do miss the extra treble sparkle of the stock cable.
NiceHCK FirstTouch (USD $89)
FirstTouch tones down the treble down as expected, but also delivers a blacker background that results in sharper imaging & improved midrange resolution - the trait I most associate with this cable.
The soundstage is deeper but slightly narrower, and the overall tonality feels a bit smoother & more natural making this quite a good cable pairing.
Effect Audio Ares S 4 Wire (USD $179)
If you like midbass then Ares S is always a solid bet, so it's no surprise the F1 Pro's midbass is boosted which helps make bass feel a bit punchier, and the tonality also becomes a bit earthier & more natural.
Vocals also feel a bit more defined & spotlit against instruments around them, treble feels muted but only slightly and not to the extent it's reduced by some of the other cables. Soundstage dimensions feel largely unchanged, but on the basis of tonality & bass improvements this is an impressive pairing.
Conclusion
As my first opportunity to try a NiceHCK IEM and listen to a planar IEM for longer than a few minutes I wasn't sure what to expect from the F1 Pros.
For just $99 these are exceedingly easy to recommend if you're a "technicality over tonality" kind of listener like I am. Now don't get me wrong, believable & naturalistic tonality is something I value highly, particularly for vocal-centric genres.
Unfortunately the world of audio is one of compromises, where you're forced to choose which shortcomings you can live with regardless of how much you spend - I'm sorry folks, but perfection does not exist even at the highest echelons of expenditure despite our fantasies whispering otherwise!
Which brings me back to the F1 Pros. If you can live with their weaker tonality & fairly prominent treble, the resolution, coherency & technical performance they deliver for $99 is stunning.
Minor quibble? None of the cables I tried seemed to upgrade their performance as much as I hoped, which could just mean the stock cable is great & you shouldn't feel obliged to change it.
The F1 Pros really demonstrate the potential of planar drivers. I'm still waiting for the explosion of Planar/BA/EST hybrids onto the market many predicted two years ago, but this level of performance for under $100 gets me very excited for the next generation of planar IEMs around the corner.
TLDR version on YouTube: TDLR - NiceHCK F1 Pro
The F1 Pro have been sent to me directly from NiceHCK for me to try them out and share my opinions in this review. NiceHCK have not made any requests regarding the review and I will do my best, as usual, to be as unbiased as possible.
You can find the F1 Pro on the official NiceHCK store on AliExpress, to which I will leave a non-affiliate link on my blog.
You can also find them on Amazon and other online retailers.
To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
NiceHCK are by no means a new brand in the IEM world and although I have never actually reviewed any of their items on Acho Reviews, I have been using their cables for a long time. In fact, my first aftermarket cable purchase was from NiceHCK.
In the realm of their IEMs, I seem to remember trying out at least one of their models but I really can’t remember what model it was and I can find no reference to it in my notes or on Acho Reviews, so I guess I never spoke about it.
The F1 Pro is a set of planar IEMs that, I believe, was released either at the beginning of this year or the end of last, so it is quite a new model. They did have a model called the F1 (without the pro) previously, that was also a planar IEM but that one seems to be discontinued.
Anyhow, the F1 Pro uses a 14.2mm planar driver, stated as a new generation, with a 16 Ohm impedance and a sensitivity of 104dB. With a price of around 110€ on the official NiceHCK Aliexpress store, I have also seen it available on other sites for slightly less, just under 100€. This, in my opinion, places it just inside the sub 100€ category.
One thing I want to mention is that NiceHCK sent me two sets of IEMs, the F1 Pro and the DB2, along with an additional aftermarket cable, the Cyan Cable, which is also available to be purchased as a set together with the F1 Pro, adding around 50€ to the total price (in the case of 4.4 balanced, which is what I have received).
I will mention more on the cable in a second but just to note that I have focused this review on using the stock included cable, not the Cyan. I am someone who believes that the major factor for purchasing an aftermarket cable is aesthetics and comfort, as sound differences are only really a factor in certain extreme cases. As both aesthetics and comfort are personal preferences, that is something that is obviously going to be more dependent on what you prefer than what I prefer.
Presentation…
The F1 Pro arrive in a rather large blue box with orange text that states the brand, the model and not much more. On one side it does show that it is the 4.4 balanced version but that is the extent of the outer packaging. It is very simple and, in my opinion, the simplicity makes it fairly elegant, as far as a cardboard sleeve goes.
Removing the outer purple sleeve, it reveals a white box with the NiceHCK logo in blue and nothing else, keeping up with the simplicity here also.
Inside the main box, we find the IEMs sitting in white cutouts at the top, with a smaller white box below containing the accessories.
The included accessories are a branded semi rigid storage/transport case, of a decent size, the stock cable, a velcro cable tie and 12 sets of silicone tips, in 3 different styles and sizes. I have to say that I find the accessories to be more than adequate for a set of planar IEMs at his price and it is nice to see such a selection of tips included. I found that I opted for the transparent tips with the white core.
Build and aesthetics…
The IEMs have a teardrop shape to them, very similar in size and shape to the Tanchjim Ola, which makes them one of the smallest alternatives as far as planar IEMs go. The shells are completely made of metal, in a light blue aluminium to be exact, with just a small gold accent to them where the faceplate rises slightly to accommodate the connector.
There are no markings or logos on the faceplate, although the make and model are marked on the side with the same gold coloured letters, and I find them to be very pleasing aesthetically.
The shape is comfortable and, although they are not the lightest of IEMs due to the full metal construction, they are by no means heavy. I have worn them for many hours and not had any discomfort other than the usual sensation of having IEMs in my ears for long periods of time.
The included cable a white rubber coated double twist with metal hardware that works fine and is comfortable enough. The rubber coating is not my favourite texture but I really don’t have any complaints with the included cable.
The additional Cyan Cable that was included is a quadruple twist in a light blue colour, almost turquoise, which is much nicer to the touch than the included cable, due to it being fabric covered rather than rubber. It is thicker than the stock cable but not to the point of being overly bulky like some other cables that are more towards being a rope rather than an IEM cable. Personally I do like the Cyan Cable more than the stock cable but as far as functionality, there is nothing wrong with the included cable. Therefore, personal preferences will of course be the deciding factor here.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
I usually don’t include comparisons in my reviews, or very rarely at least, as I structure my reviews in a way that makes them easy to cross reference with other IEMs that I have reviewed, or at least that is my aim.
In this case, it is impossible for me to not mention what has been one of my favourite planar IEMs and most certainly the most used of my planar IEMs, the Letshuoer S12. I really enjoy the sound signature of the S12 and, while it isn’t perfect, it is something that I used daily for a very long time and I still grab it now.
Why am I mentioning the S12?
Well, it’s priced very similarly and is also on the smaller side of planar IEMs (although the F1 Pro is a little more compact). It is also made of metal but, most importantly, the sound signature of the F1 Pro is very similar to the S12, almost identical in fact, except for just a few minor tweaks.
Here is the graph of the NiceHCK F1 Pro in comparison to my usual preference target for reference:
And here is the F1 Pro in comparison to the Letshuoer S12:
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Even to those who do not read measurements, or don’t care about them, can easily see that there is a lot of similarity between the two. I am not going to go into depth comparing them, I will just review the F1 Pro on its own merits but… Spoiler alert… I prefer the F1 Pro to my beloved S12.
So, on with the review and my usual starting point which is the subbass and “Chameleon”. Here we are greeted with what I find to be a very clean and well performing subbass. There is plenty of rumble to appreciate what this track is all about but it does not feel bloated or out of control. Many times the excessive subbass will mix with excessive midbass and start to feel overly loose, yet here the F1 Pro do a very respectable job of keeping things in their place.
Moving over to “Royals” by Lorde, the clarity of the subbass is even more noticeable, where the rumble is there but it allows that “grit” of the subbass in this track to show. The same can be said with “No Sanctuary Here”, where the subbass is impressive yet not overpowering, even when paired with a good amount of midbass.
Moving to the midbass and my “Crazy” fatigue test, things are nicely presented, giving me no sensation of fatigue nor bloat in the midbass or lower mids. Things are again very well controlled in the midbass and lower mids, avoiding any muddyness while still having plenty of body for the low end of guitars and male vocals etc.
The whole midrange is nicely balanced, without the low end masking any of the details an performance throughout this range, allowing vocals to have very natural presentation, along my my usual preferences in acoustic instruments.
As we climb into the upper mids, here is where my preference for the F1 Pro over the S12 is most apparent, with these ranges being slightly less forward than on the S12. There is still enough presence for vocals and upper ranged chords to have plenty of clarity and not get lost, yet they are just slightly less sharp then on the S12.
Beth’s voice in my usual harshness test, “Don’t You Worry Child”, still has it’s natural harshness to it but is never uncomfortable like it can be on so many other sets. On the S12 it wasn’t overly uncomfortable but it is much more pleasant (or less unpleasant) on the F1 Pro.
The brass instruments on “Diamonds On The Soles Of Her Shoes” are not overpowering in the upper mids either, although there is a little bit of harshness as we enter the upper ranges. We can find some sibilance in Paul Simon’s voice on ocasions (although nowhere near as bad as on some other sets) and things like cymbals and high hats can have a bit too much brilliance to them.
This is due to the fact that there is a peak in the upper ranges that can can interact with certain sounds, such as the hi-hats in “Still D.R.E” and make them just a little too harsh.
For my usual sibilance tests, “Code Cool” does place the S’s and T’s of Patricia Barber a little over what I would consider neutral (maybe a +2 or +3 on my unscientific scale of -12 to +12). The same can be said about Lana Del Rey in the opening lines of “Hope is a Dangerous thing”.
Details on the F1 Pro are impressive throughout the whole range, with just that peak in the upper ranges sometimes coinciding with certain details and making them a little more “artificial” sounding. This is a shame because there are plenty of details already there, so this peak is not really adding anything, just detracting a little when it coincides.
As far as sound stage, they are fairly decent. I would place them slightly above average for IEMs, although I wouldn’t go as far as to say they are very wide. There is a nice sensation of rear left depth on that guitar in “La Luna” but there is not really a huge space from left to right in general.
Conclusion…
I have no doubt that these are my preferred planar IEMs under the 100€ mark. In fact, they are good planar IEMs regardless of price. They have managed to unseat the S12, stealing their place in the “quick grab” case, where they have been for almost 2 years. That says something about what I think of these IEMs.
In general, there is only really one thing that I can fault to not give them a perfect score for their price bracket and that is the peak in the upper ranges. It’s not always noticeable, depending on the track and music, but when it does appear, it is very noticeable.
This adds some sibilance and also give that slight harshness to the upper ranges of a sound presentation that is otherwise very very good.
In other words, are they perfect? No. But I can’t think of any planar IEMs (or IEMs in general) that are and certainly not in the 100€ range. These are a very good set of IEMs and are certainly worthy of the price they sit at.
____
As with all my reviews, this is also available in Spanish both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
Nicehck Audio is to be mentioned for their kind hearted staff to provide me with their F1 pro . I would like to point out that I was recommended to get the cyan cable to pair with it and it really pairs beautifully. For a single planar in which usually I am not a fan of, I actually really enjoyed them .
Shoutout to my dawgs over at Canuck Audioholics
Tone Deaf Monk
Bennet Kelly
Kaye Dee
SPECS:
New-Generation Planar Magnetic Driver IEMs.
Newly developed 14.2mm Planar Driver.
2um Ultra-Thin Diaphragm.
N55 High-Performance Magnets.
Double-Sided Magnetic Circuit.
CNC-Machined Aluminum Alloy Cavities.
Compact and Ergonomic Design.
Professionally Adjusted Tuning.
Two-Pin Detachable Cable (0.78mm).
High-Purity OCC and Silver-Plated Hybrid Cable.
Available in 4.4mm and 3.5mm Termination options.
If you’re looking for a set of in ears to listen to around the house or at the gym , while shopping or even to clean the dishes to help out the wife . The F1 pro from NiceHCK are a great choice .
They have a well-balanced sound Sure, Itbeyre not the greatest gift, the soundstage is not the best either but all in all these F1 pros really amazed me
The Nicehck F1 Pro has a balanced sound signature with a slight emphasis on the bass and treble frequencies, creating somewhat of a w-shaped profile. This means that it offers a good blend of clarity and detail while also adding a touch of excitement to your music. So, it's not exactly a V shape, but it still provides a dynamic and engaging listening experience. I hope this can give you a little insight on what to expect as it has some technical details and that is the strength of planar drivers
The low end on the Nicehck F1 Pro is quite impressive! It provides a nice, punchy bass that adds depth and richness to the overall sound. You'll definitely feel the groove when listening to bass-heavy tracks.
Some tracks to mention
1. "Uptown Funk" by Mark Ronson ft. Bruno Mars
2. "Turn Down for What" by DJ Snake & Lil Jon
3. "Seven Nation Army" by The White Stripes
4. "Feel Good Inc." by Gorillaz
5. "Billie Jean" by Michael Jackson
These songs have some awesome basslines that will get you grooving!
The mids on the Nicehck F1 Pro are fantastic! They have a warm and smooth sound, which makes vocals and instruments really shine. You'll be able to hear the details and nuances in the midrange with great clarity. It's perfect for genres with strong vocals and intricate instrumentals.
The treble is crisp and detailed! It brings out the liveliness in high-frequency sounds like cymbals, guitars, and vocals. You'll be able to hear all the intricate details and enjoy the sound signatures of the F1 pro . It's perfect for music genres with crisp highs and intricate instrumentals.
The below songs have catchy melodies and energetic beats that will allow you to appreciate the crispness and sparkle in the treble range. Give them a listen and enjoy.
1. “Happy” Pharrell Williams
2. "Shape of You" by Ed Sheeran
3. "Can't Stop the Feeling!" by Justin Timberlake
4. "Blinding Lights" by The Weeknd
5. "Don't Start Now" by Dua Lipa
Hurry now before deal ends using promo code below as it expires feb 5th . It was my pleasure reviewing this IEM as I hope my review can help you decide if this IEM can be right for you .
Use code [888F1PRO] to place your order and choose the F1 Pro + Cyan Cable version, the price on arrival is from $100.
https://www.aliexpress.com/item/325...lider_2005873823683.0&gatewayAdapt=4itemAdapt
Code expiration date: Until 2024/02/05 23:59:59 (US Pacific Time)
Shoutout to my dawgs over at Canuck Audioholics
Tone Deaf Monk
Bennet Kelly
Kaye Dee
SPECS:
New-Generation Planar Magnetic Driver IEMs.
Newly developed 14.2mm Planar Driver.
2um Ultra-Thin Diaphragm.
N55 High-Performance Magnets.
Double-Sided Magnetic Circuit.
CNC-Machined Aluminum Alloy Cavities.
Compact and Ergonomic Design.
Professionally Adjusted Tuning.
Two-Pin Detachable Cable (0.78mm).
High-Purity OCC and Silver-Plated Hybrid Cable.
Available in 4.4mm and 3.5mm Termination options.
If you’re looking for a set of in ears to listen to around the house or at the gym , while shopping or even to clean the dishes to help out the wife . The F1 pro from NiceHCK are a great choice .
They have a well-balanced sound Sure, Itbeyre not the greatest gift, the soundstage is not the best either but all in all these F1 pros really amazed me
The Nicehck F1 Pro has a balanced sound signature with a slight emphasis on the bass and treble frequencies, creating somewhat of a w-shaped profile. This means that it offers a good blend of clarity and detail while also adding a touch of excitement to your music. So, it's not exactly a V shape, but it still provides a dynamic and engaging listening experience. I hope this can give you a little insight on what to expect as it has some technical details and that is the strength of planar drivers
The low end on the Nicehck F1 Pro is quite impressive! It provides a nice, punchy bass that adds depth and richness to the overall sound. You'll definitely feel the groove when listening to bass-heavy tracks.
Some tracks to mention
1. "Uptown Funk" by Mark Ronson ft. Bruno Mars
2. "Turn Down for What" by DJ Snake & Lil Jon
3. "Seven Nation Army" by The White Stripes
4. "Feel Good Inc." by Gorillaz
5. "Billie Jean" by Michael Jackson
These songs have some awesome basslines that will get you grooving!
The mids on the Nicehck F1 Pro are fantastic! They have a warm and smooth sound, which makes vocals and instruments really shine. You'll be able to hear the details and nuances in the midrange with great clarity. It's perfect for genres with strong vocals and intricate instrumentals.
The treble is crisp and detailed! It brings out the liveliness in high-frequency sounds like cymbals, guitars, and vocals. You'll be able to hear all the intricate details and enjoy the sound signatures of the F1 pro . It's perfect for music genres with crisp highs and intricate instrumentals.
The below songs have catchy melodies and energetic beats that will allow you to appreciate the crispness and sparkle in the treble range. Give them a listen and enjoy.
1. “Happy” Pharrell Williams
2. "Shape of You" by Ed Sheeran
3. "Can't Stop the Feeling!" by Justin Timberlake
4. "Blinding Lights" by The Weeknd
5. "Don't Start Now" by Dua Lipa
Hurry now before deal ends using promo code below as it expires feb 5th . It was my pleasure reviewing this IEM as I hope my review can help you decide if this IEM can be right for you .
Use code [888F1PRO] to place your order and choose the F1 Pro + Cyan Cable version, the price on arrival is from $100.
https://www.aliexpress.com/item/325...lider_2005873823683.0&gatewayAdapt=4itemAdapt
Code expiration date: Until 2024/02/05 23:59:59 (US Pacific Time)
Disclaimer: The NiceHCK F1 Pro was graciously provided by NiceHCK.
NOTES:
NiceHCK is a company which is best known for their line of high quality cables for iems. I myself have purchased and still own a number of these.
They also have their hands in iem manufacturing and the iem I am reviewing to day if called the F1 Pro. It is my understanding that there was an OG F1, but I am unfamiliar with that item so that’s all I’ll talk about that.
The F1 Pro has a driver compliment of a single newly developed 14.2mm Planar driver. The driver is housed in a cnc machined aluminum shell which I believe is quite attractive. The sound is said to compliment different genres and this was indeed confirmed in my listening. The F1 Pro I would say has more of a W tuning than typical V.
The F1 Pro is easy to drive and did well with most sources though I would suggest a capable warmer source for that best synergy. The F1 Pro was moderately tip sensitive as well but not overly so.
Read on to know how the NiceHCK actually performs.
SPECS:
New-Generation Planar Magnetic Driver IEMs.
Newly developed 14.2mm Planar Driver.
2um Ultra-Thin Diaphragm.
N55 High-Performance Magnets.
Double-Sided Magnetic Circuit.
CNC-Machined Aluminium Alloy Cavities.
Compact and Ergonomic Design.
Professionally Adjusted Tuning.
Two-Pin Detachable Cable(0.78mm).
High-Purity OCC and Silver-Plated Hybrid Cable.
Available in 4.4mm and 3.5mm Termination options.
Build, Fit & Quality:
The NIceHCK F1 Pro is an attractive iem. The CNC Machined shells are obviously well done in a pleasing almost cyan colour. Even though the driver is said to be 14.2mm, the shells are on the smaller side of medium in size.
Fit was very good as the shells are more round than ear shaped with nozzles that stick out enough to seat well in the ear, with proper tip selection that is. Long listening session were not an issue.
The included accessories are of apparent good quality with the standout being the cable which is a keeper. Knowing NiceHCK’s cable prowess this was a no brainer.
SOUND:
BASS:
The F1 Pro has bass that digs deep with commendable control. Listening to “Angel” by Massive Attack the bass was heard to hit hard yet maintain it’s tight composure. Moving on to “Change Your Mind” by Moonchild, the bass has a pleasant fullness and thickness to it without sounding muddy.
On “No Worries” by the Robert Glasper Trio, the F1 Pro attributed itself well with a clean playback of the double bass. “Poem Of A Chinese Drum” by Hok Man Yim is a good test of bass control and dynamics. The F1 Pro again did well the bass remaining tight and focused even in the more demanding moments of the track. Regardless of bass content the F1 Pro never suffered from affected mids either with the midrange staying in its place.
Bass detail and texture presentation were also a high point. “Circumstance” by Wayman Tisdale was played back cleanly, although I would have preferred just a touch more presence in the deepest sub-bass, I still got lost in the track.
Changing genres, with “Here I come” from Denis Brown the F1 Pro again did quite well with the bass and deep kick drum of this classic Reggae track coming through clean and clear. Throwing some House music into the fray, “Feel It Now (Cornelius Remix)” I found myself unconsciously turning up the volume and bopping my head. The bass of the NiceHCK F1 Pro is well done and probably the best of the sub $100 Planars I’ve heard. It does lean more towards quality than quantity, but I am confident in saying that the vast majority of listeners will be more than satisfied.
MIDRANGE:
The NiceHCK F1 Pro has on offer a midrange that is clean with some noted emphasis as we move up in frequency. Detail retrieval is good with macro over micro detail present but with enough micro detail present to make things very interesting.
This added presence lift is most notable on female vocals and while the upper midrange was not harsh, at times there was sibilance heard, again mostly with female vocals. This was not always apparent though. “Sweet Love” by Anita Baker came through crisp and clear without any harshness or sibilance noted. As such this is really track dependent.
Male vocals, and female vocals, were more immediate than recessed with again excellent clarity with the F1 Pro able to convey the emotion in the artists vocal delivery. I did find that female vocals did sound a touch more prominent in the mix as compared to male.
Layering and separation is good. Listening to “Beautiful Lie” by Vick Lavender I was impressed with the F1 Pro’s ability to keep elements of this hyper busy track in their place and separated. Not may sets regardless of price have done this successfully. This only one performance metric though, but still impressive. Timbre is good but that added presence does add extra bite for example to string instruments making them just north of natural but without harshness. With respect to transients the F1 Pro again does well with sharp attack and natural decay.
TREBLE:
The NiceHCK F1 Pro has a treble that really showcases how planar driver iems have matured. While the treble does have ample energy, gone to a great extent is the piercing and sometimes ragged presentation of previous planar iem generations.
Treble is well extended with good detail, air and sparkle. The top end I found non-fatiguing and while some super treble sensitive types may have issue with this, I did not.
IMAGING AND SOUNDSTAGE:
The F1 Pro firstly has a soundstage that is IMHO superior to all the sub $100 planar based sets I have heard. It just sounds more open. It is not a 3D holographic presentation with the width extending just beyond the ears but with good height and to a lesser extent depth. The presentation of depth isn’t eye watering, but definitely better conveyed than all the other planar based iems I’ve heard at its price.
Where the F1 Pro excels is in NOT sounding constrained or congested, even on busy tracks.
CONCLUSION:
At $99 USD the NiceHCK F1 Pro has some competition in the planar driver equipped segment. I would say that the F1 Pro is a better example of this tech than any at its price range.
While female vocals can at times exhibit sibilance, it is not the majority of the time and taken as an overall experience, the NiceHCK F1 Pro does indeed satisfy.
NiceHCK makes some great cables, that is a given, clearly their iems also deserve some attention as well. If you are in the market in this price range and are after detailed sonics with quality bass, the NiceHCK F1 Pro should be on your shortlist.
NOTES:
NiceHCK is a company which is best known for their line of high quality cables for iems. I myself have purchased and still own a number of these.
They also have their hands in iem manufacturing and the iem I am reviewing to day if called the F1 Pro. It is my understanding that there was an OG F1, but I am unfamiliar with that item so that’s all I’ll talk about that.
The F1 Pro has a driver compliment of a single newly developed 14.2mm Planar driver. The driver is housed in a cnc machined aluminum shell which I believe is quite attractive. The sound is said to compliment different genres and this was indeed confirmed in my listening. The F1 Pro I would say has more of a W tuning than typical V.
The F1 Pro is easy to drive and did well with most sources though I would suggest a capable warmer source for that best synergy. The F1 Pro was moderately tip sensitive as well but not overly so.
Read on to know how the NiceHCK actually performs.
SPECS:
New-Generation Planar Magnetic Driver IEMs.
Newly developed 14.2mm Planar Driver.
2um Ultra-Thin Diaphragm.
N55 High-Performance Magnets.
Double-Sided Magnetic Circuit.
CNC-Machined Aluminium Alloy Cavities.
Compact and Ergonomic Design.
Professionally Adjusted Tuning.
Two-Pin Detachable Cable(0.78mm).
High-Purity OCC and Silver-Plated Hybrid Cable.
Available in 4.4mm and 3.5mm Termination options.
Build, Fit & Quality:
The NIceHCK F1 Pro is an attractive iem. The CNC Machined shells are obviously well done in a pleasing almost cyan colour. Even though the driver is said to be 14.2mm, the shells are on the smaller side of medium in size.
Fit was very good as the shells are more round than ear shaped with nozzles that stick out enough to seat well in the ear, with proper tip selection that is. Long listening session were not an issue.
The included accessories are of apparent good quality with the standout being the cable which is a keeper. Knowing NiceHCK’s cable prowess this was a no brainer.
SOUND:
BASS:
The F1 Pro has bass that digs deep with commendable control. Listening to “Angel” by Massive Attack the bass was heard to hit hard yet maintain it’s tight composure. Moving on to “Change Your Mind” by Moonchild, the bass has a pleasant fullness and thickness to it without sounding muddy.
On “No Worries” by the Robert Glasper Trio, the F1 Pro attributed itself well with a clean playback of the double bass. “Poem Of A Chinese Drum” by Hok Man Yim is a good test of bass control and dynamics. The F1 Pro again did well the bass remaining tight and focused even in the more demanding moments of the track. Regardless of bass content the F1 Pro never suffered from affected mids either with the midrange staying in its place.
Bass detail and texture presentation were also a high point. “Circumstance” by Wayman Tisdale was played back cleanly, although I would have preferred just a touch more presence in the deepest sub-bass, I still got lost in the track.
Changing genres, with “Here I come” from Denis Brown the F1 Pro again did quite well with the bass and deep kick drum of this classic Reggae track coming through clean and clear. Throwing some House music into the fray, “Feel It Now (Cornelius Remix)” I found myself unconsciously turning up the volume and bopping my head. The bass of the NiceHCK F1 Pro is well done and probably the best of the sub $100 Planars I’ve heard. It does lean more towards quality than quantity, but I am confident in saying that the vast majority of listeners will be more than satisfied.
MIDRANGE:
The NiceHCK F1 Pro has on offer a midrange that is clean with some noted emphasis as we move up in frequency. Detail retrieval is good with macro over micro detail present but with enough micro detail present to make things very interesting.
This added presence lift is most notable on female vocals and while the upper midrange was not harsh, at times there was sibilance heard, again mostly with female vocals. This was not always apparent though. “Sweet Love” by Anita Baker came through crisp and clear without any harshness or sibilance noted. As such this is really track dependent.
Male vocals, and female vocals, were more immediate than recessed with again excellent clarity with the F1 Pro able to convey the emotion in the artists vocal delivery. I did find that female vocals did sound a touch more prominent in the mix as compared to male.
Layering and separation is good. Listening to “Beautiful Lie” by Vick Lavender I was impressed with the F1 Pro’s ability to keep elements of this hyper busy track in their place and separated. Not may sets regardless of price have done this successfully. This only one performance metric though, but still impressive. Timbre is good but that added presence does add extra bite for example to string instruments making them just north of natural but without harshness. With respect to transients the F1 Pro again does well with sharp attack and natural decay.
TREBLE:
The NiceHCK F1 Pro has a treble that really showcases how planar driver iems have matured. While the treble does have ample energy, gone to a great extent is the piercing and sometimes ragged presentation of previous planar iem generations.
Treble is well extended with good detail, air and sparkle. The top end I found non-fatiguing and while some super treble sensitive types may have issue with this, I did not.
IMAGING AND SOUNDSTAGE:
The F1 Pro firstly has a soundstage that is IMHO superior to all the sub $100 planar based sets I have heard. It just sounds more open. It is not a 3D holographic presentation with the width extending just beyond the ears but with good height and to a lesser extent depth. The presentation of depth isn’t eye watering, but definitely better conveyed than all the other planar based iems I’ve heard at its price.
Where the F1 Pro excels is in NOT sounding constrained or congested, even on busy tracks.
CONCLUSION:
At $99 USD the NiceHCK F1 Pro has some competition in the planar driver equipped segment. I would say that the F1 Pro is a better example of this tech than any at its price range.
While female vocals can at times exhibit sibilance, it is not the majority of the time and taken as an overall experience, the NiceHCK F1 Pro does indeed satisfy.
NiceHCK makes some great cables, that is a given, clearly their iems also deserve some attention as well. If you are in the market in this price range and are after detailed sonics with quality bass, the NiceHCK F1 Pro should be on your shortlist.
Planar Magnetic Drivers in IEMs have been booming since the release of the Timeless or shall i say Tin HiFi P1 series. I am talking about the IEM category, HP’s had them since long(HiFiMan and a few other brands). Planar Magnetic drivers in IEMs have been quite fascinating for me. I have tried many models including the Tin HiFi P1 series, LETSHUOER S12 series, 7Hz Timeless, and many more models. NiceHCK has also joined the bandwagon with the F1 series. They recently came up with the F1 Pro, for which I am going to share my review today with you guys. It has been an amazing experience listening to the F1 Pro, the pair packs a smooth and safe sound, probably the safest-sounding Planar I have heard to date. Usually, most Planars that I have tried have a detailed, crispy, and energetic sound presentation, so where does the F1 Pro stand for me? Let’s find out in the review today.
Short Disclaimer:-
NiceHCK F1 Pro was sent to me by NiceHCK themselves for this review. And here goes my speech again, “I am writing this review in all my senses with no affection or hate towards any brand or anything. All the impressions in this post are completely my own based on my own experience with the set”. At the time of this write-up, NiceHCK F1 Pro retails for 109$. There’s a sale going on in the Aliexpress store where you can get the F1 Pro along with the Cyan cable starting at 100$ with a Coupon Code (F1PROGOOD). Link is added below(it’s a non-affiliated link).
https://www.aliexpress.us/item/1005006228604236.html
Design & Ergonomics:-
NiceHCK F1 Pro houses a large-sized dynamic driver still the pair is quite compact and ergonomic. Its round-shaped cavity is small and sits comfortably into the ear providing a good fit. F1 Pro has a beautiful design with metallic Blue coloured shells. They are metallic with a premium in-hand look and feel. The paint finish is matte, it doesn’t attract fingerprints at all. The compact design of the shells makes them fit comfortably and provides me with good wearing comfort, it can be worn for longer durations without getting tired at all. NiceHCK provides a standard cable with the set, Although I have used it mainly with the Cyan Upgrade cable. This cable has a cloth sleeve in a light blue color tone. Overall, great looks, great comfort, great isolation. Cyan Cable gets a little dirty with extensive use, but the pair still retains its shine and premium finish.
Driving the NiceHCK F1 Pro:-
NiceHCK F1 Pro works well with most sources that I have tested it with. I tried to test everything from a standard MacBook Pro output to proper USB DAC/AMPs and dedicated DAPs, I never felt like the F1 Pro takes a lot of juice. Yes adding current from CMA Amplification of QP2R or adding Current through the AK PA10 definitely improves the dynamics. But you won’t lose much with standard sources either. As long as you provide the F1 Pro with a clean source, you are good to go. I suggest using a decent DAC/AMP like Hidizs S9 Pro Plus or AFUL Snowy Night to bring the true potential out of the pair. And for added dynamics, and enhanced overall sound, use a powerful amp like AK PA10.
Sound Impressions:-
Where shall I start for the F1 Pro? The pair sounds so good, it has a smooth W-shape sound tuning presenting the Bass and Treble in a slightly forwarded manner. The bass is the main attraction of the pair, it hits hard, and it’s fast, when you give something like “Bad Guy by Billie Eilish”, you can actually feel the rumble being presented powerfully. TBH last night while I was making some notes listening to the set, It felt like a 2-channel speaker with a clear, strong bass response. There is no muddiness or graininess in the sound. NIceHCK has done a great job in presenting a tight and controlled lower-end response on the pair. The bass of F1 Pro gets the perfect balance between quantity and quality, it’s not overwhelming in either of the two and it still has enough of the two to present us with a clear and strong bass. In my test track(i will add the playlist after this sound impression), there’s a track called “Rockstar by Ali Zafar”, It’s a regional Hindi language track. The Drums in that track sound so good, the mid-bass is rounded and sounds so so pleasing that I just can’t get the F1 Pro out of my ears. Next up, Royals by Lorde, the Sub-bass is produced beautifully. It’s thunderous, it’s rumbling, and it’s a strong point of F1 Pro in my opinion.
The lower midrange is a bit recessed, but the upper mids, especially the vocals take a step forward. It isn’t hurting or sharp, although a bit of sibilance is present, especially with female Vocals. Instruments like Piano, Acoustic Guitars, maintain a really nice tone and timbre. They have a rich, full-bodied presentation. The same can be said for the Vocals. In my testing tracks, Hotel California is always there, and that track shines beautifully on the F1 Pro. The different instruments, the vocals, everything is presented so cleanly, so precisely, that it is quite enjoyable. There is no metallic timbre, the overall tone and timbre of the pair is slightly warmer than neutral.
Treble is nice and smooth. It’s decently detailed, I can’t call the F1 Pro a detail monster, but a smooth and rich-sounding one. The Treble tuning here is safe and sound. It’s not sharp, fatiguing, or harsh, even for longer listening sessions, the pair works like a true companion by my side. High Frequencies have good air and separation, they don’t sound dark or anything, and in fact have a smooth, neutral tone. Compared to something like Timeless or S12, I can’t call these the most extended ones, but definitely the smoothest one of the three, and the safest of the lot.
Technically, F1 Pro is a decent performer. It has a surrounding soundstage, neither too wide nor too narrow. The instruments sound well-separated and clear. There is no congestion even in fast tracks such as Billie Jean by Michael Jackson or Dark Necessities by RHCP. Imaging and placement of instruments are also nicely executed with the F1 Pro.
NiceHCK F1 Pro vs Celest Plutus Beast:-
I recently shared a review for the Celest Plutus Beast. The IEM is priced identically to the F1 Pro but has an entirely different driver setup. On F1 Pro we have a single Planar Magnetic Driver while Plutus Beast houses three drivers consisting of 1 BCD, 1 BA, and 1 SPD driver(which is a kind of planar by the way). So here are my sound comparisons between the two.
>Plutus Beast delivers a more physical lower-end response. F1 Pro doesn’t match the quantity, but definitely exceeds the quality of the bass. Mid-bass is more slamming and stronger on the Plutus Beast, F1 Pro has better sub-bass definition.
>Both IEMs have forwarded Vocals, F1 Pro has a bit of sibilance present.
>Treble on the F1 Pro has more life and crispiness, Plutus Beast sounds a bit darkish and rounded in comparison.
>Soundstage-wise both have a surrounding stage, Plutus Beast has more depth while the F1 Pro presents more width to the stage.
>Instrument separation is better on the F1 Pro for me.
>Microdetails on both the sets are identical, both of these don’t focus on more details, but rather has a more pleasing sound.
Final Words on F1 Pro:-
After spending like 12-15 days with the F1 Pro, I still stayed with my instant thought When I first heard the NiceHCK F1 Pro. It is the safest Planar sound, there is the least metallic timbre, there is a strong bass, there is a clear, crisp midrange, and there is a smoothly executed treble region. NiceHCK F1 Pro gets a place in my best Planar IEM recommendations as the set sounds so good that it is hard to get it off my daily listening list. Well, that’s about the NiceHCK F1 Pro, if you guys have any further questions, you can ask me in the comments section below. I hope this write-up was worth your reading time.
Regards!!
Short Disclaimer:-
NiceHCK F1 Pro was sent to me by NiceHCK themselves for this review. And here goes my speech again, “I am writing this review in all my senses with no affection or hate towards any brand or anything. All the impressions in this post are completely my own based on my own experience with the set”. At the time of this write-up, NiceHCK F1 Pro retails for 109$. There’s a sale going on in the Aliexpress store where you can get the F1 Pro along with the Cyan cable starting at 100$ with a Coupon Code (F1PROGOOD). Link is added below(it’s a non-affiliated link).
https://www.aliexpress.us/item/1005006228604236.html
Design & Ergonomics:-
NiceHCK F1 Pro houses a large-sized dynamic driver still the pair is quite compact and ergonomic. Its round-shaped cavity is small and sits comfortably into the ear providing a good fit. F1 Pro has a beautiful design with metallic Blue coloured shells. They are metallic with a premium in-hand look and feel. The paint finish is matte, it doesn’t attract fingerprints at all. The compact design of the shells makes them fit comfortably and provides me with good wearing comfort, it can be worn for longer durations without getting tired at all. NiceHCK provides a standard cable with the set, Although I have used it mainly with the Cyan Upgrade cable. This cable has a cloth sleeve in a light blue color tone. Overall, great looks, great comfort, great isolation. Cyan Cable gets a little dirty with extensive use, but the pair still retains its shine and premium finish.
Driving the NiceHCK F1 Pro:-
NiceHCK F1 Pro works well with most sources that I have tested it with. I tried to test everything from a standard MacBook Pro output to proper USB DAC/AMPs and dedicated DAPs, I never felt like the F1 Pro takes a lot of juice. Yes adding current from CMA Amplification of QP2R or adding Current through the AK PA10 definitely improves the dynamics. But you won’t lose much with standard sources either. As long as you provide the F1 Pro with a clean source, you are good to go. I suggest using a decent DAC/AMP like Hidizs S9 Pro Plus or AFUL Snowy Night to bring the true potential out of the pair. And for added dynamics, and enhanced overall sound, use a powerful amp like AK PA10.
Sound Impressions:-
Where shall I start for the F1 Pro? The pair sounds so good, it has a smooth W-shape sound tuning presenting the Bass and Treble in a slightly forwarded manner. The bass is the main attraction of the pair, it hits hard, and it’s fast, when you give something like “Bad Guy by Billie Eilish”, you can actually feel the rumble being presented powerfully. TBH last night while I was making some notes listening to the set, It felt like a 2-channel speaker with a clear, strong bass response. There is no muddiness or graininess in the sound. NIceHCK has done a great job in presenting a tight and controlled lower-end response on the pair. The bass of F1 Pro gets the perfect balance between quantity and quality, it’s not overwhelming in either of the two and it still has enough of the two to present us with a clear and strong bass. In my test track(i will add the playlist after this sound impression), there’s a track called “Rockstar by Ali Zafar”, It’s a regional Hindi language track. The Drums in that track sound so good, the mid-bass is rounded and sounds so so pleasing that I just can’t get the F1 Pro out of my ears. Next up, Royals by Lorde, the Sub-bass is produced beautifully. It’s thunderous, it’s rumbling, and it’s a strong point of F1 Pro in my opinion.
The lower midrange is a bit recessed, but the upper mids, especially the vocals take a step forward. It isn’t hurting or sharp, although a bit of sibilance is present, especially with female Vocals. Instruments like Piano, Acoustic Guitars, maintain a really nice tone and timbre. They have a rich, full-bodied presentation. The same can be said for the Vocals. In my testing tracks, Hotel California is always there, and that track shines beautifully on the F1 Pro. The different instruments, the vocals, everything is presented so cleanly, so precisely, that it is quite enjoyable. There is no metallic timbre, the overall tone and timbre of the pair is slightly warmer than neutral.
Treble is nice and smooth. It’s decently detailed, I can’t call the F1 Pro a detail monster, but a smooth and rich-sounding one. The Treble tuning here is safe and sound. It’s not sharp, fatiguing, or harsh, even for longer listening sessions, the pair works like a true companion by my side. High Frequencies have good air and separation, they don’t sound dark or anything, and in fact have a smooth, neutral tone. Compared to something like Timeless or S12, I can’t call these the most extended ones, but definitely the smoothest one of the three, and the safest of the lot.
Technically, F1 Pro is a decent performer. It has a surrounding soundstage, neither too wide nor too narrow. The instruments sound well-separated and clear. There is no congestion even in fast tracks such as Billie Jean by Michael Jackson or Dark Necessities by RHCP. Imaging and placement of instruments are also nicely executed with the F1 Pro.
NiceHCK F1 Pro vs Celest Plutus Beast:-
I recently shared a review for the Celest Plutus Beast. The IEM is priced identically to the F1 Pro but has an entirely different driver setup. On F1 Pro we have a single Planar Magnetic Driver while Plutus Beast houses three drivers consisting of 1 BCD, 1 BA, and 1 SPD driver(which is a kind of planar by the way). So here are my sound comparisons between the two.
>Plutus Beast delivers a more physical lower-end response. F1 Pro doesn’t match the quantity, but definitely exceeds the quality of the bass. Mid-bass is more slamming and stronger on the Plutus Beast, F1 Pro has better sub-bass definition.
>Both IEMs have forwarded Vocals, F1 Pro has a bit of sibilance present.
>Treble on the F1 Pro has more life and crispiness, Plutus Beast sounds a bit darkish and rounded in comparison.
>Soundstage-wise both have a surrounding stage, Plutus Beast has more depth while the F1 Pro presents more width to the stage.
>Instrument separation is better on the F1 Pro for me.
>Microdetails on both the sets are identical, both of these don’t focus on more details, but rather has a more pleasing sound.
Final Words on F1 Pro:-
After spending like 12-15 days with the F1 Pro, I still stayed with my instant thought When I first heard the NiceHCK F1 Pro. It is the safest Planar sound, there is the least metallic timbre, there is a strong bass, there is a clear, crisp midrange, and there is a smoothly executed treble region. NiceHCK F1 Pro gets a place in my best Planar IEM recommendations as the set sounds so good that it is hard to get it off my daily listening list. Well, that’s about the NiceHCK F1 Pro, if you guys have any further questions, you can ask me in the comments section below. I hope this write-up was worth your reading time.
Regards!!
Introduction
The famous AliExpress portable audio store NiceHCK released its evolution of its first F1 planar IEM at the end of 2023. Sure enough, it's called F1 Pro. It is a new model containing the next generation of the 14.2mm planar diaphragm driver. It is 2µm thick, uses N55 neodymium magnets and a double-sided magnetic circuit. The capsule is made of aluminium alloy and the ergonomics have been improved compared to the previous model. This time there are no different mouthpieces to change the tuning, but the profile is unique, slightly more polarised than the F1 Silver tuning, but very much in line with the second generation of planar IEMS that came out last year. As standard, the F1 Pro comes with a good set of accessories and its classic shiny, silver-plated cable that has been used on the brand's last few great models. Of course, you can choose with either a 3.5mm SE or 4.4mm BAL plug. But you can also choose with alternative cables. These include the FirstTouch cable or the New Cyan Cable. For this review, it was fortunate that the cable provided was the special New Cyan cable. It was used for this article. Let's see what a great pair the two elements are.
Specifications
Packaging
The F1 Pro comes in a sober medium-sized blue box with gold lettering, whose dimensions are 170x117x47mm. On the main side you can see the brand logo and the model name in the centre. Nothing else. On the back side there is not much more, again the name of the model and a small description underneath, also in the centre. At the bottom, on the left are the contact details and on the right an EAN13 code and the logos of the certifications it complies with. After removing the cardboard, a completely white box with the brand logo in the centre is displayed... when the lid is lifted, the classic protective configuration is revealed: a white mould containing the capsules, a white box with the logo in its centre, which houses a zipped case with the accessories. In summary, the complete contents are as follows:
Nice set of tips, with a remarkable zippered case, with the right size to protect the IEMS. NiceHCK leaves behind their good chest cases and goes back to using the zip, increasing the interior space in a good way. The cable is the classic of the latest models, as are the tip sets. If there is one thing missing, it might be the foam tips, although it is true that they are less and less used as standard accessories these days.
Construction and Design
The capsules of the F1 Pro are made of aluminium alloy and machined by a 5-axis CNC. The outer face is almost circular, but with a rectangular corner. At the point where the rectangle ends and the circle begins, there is a small, narrow triangular-shaped trench with a gold background. The rest of the capsule is light blue. At the edge and close to this bezel, there is a 2Pin 0.78mm connection interface, fully integrated into the capsule. It consists of a rectangular piece of translucent plastic, while the female connection is gold-plated. On the other side of the apex, there is the model name, the brand name and the mole containing the letter indicating the channel, all in white lettering. It could be said that this part is the base of the capsule and that a more cylindrical, very rounded and ergonomic inner face emerges from it. It contains a hole in its centre, while the nozzles grow close to the rim. They are not too long, although they are longer than those of the previous model, a clear weak point of that first F1. Up to the mouthpiece, the entire inner face of the capsule is integrally constructed. The outer crown diameter is 5.9mm. The mouthpieces are protected by a metal grille with several overlapping spiral patterns. Despite the metal construction the weight is low.
The standard cable consists of a fairly soft double braid. The material is mixed OCC copper with silver plated cores. It is light, mouldable and shiny. The sleeves of the 2Pin 0.78mm connectors are rounded cylinders at the end of the cable, with red and blue rings to indicate the channel. They are smooth, shiny and polished metallic, but have a roughened band for easy gripping. The plug sleeve has the same design, but is longer. The plug is 4.4mm balanced. The splitter is completely smooth and the pin is a metal ring with a rough surface. It has over-ear guides, but they are smooth, like the whole cable, which is very mouldable.
The special New Cyan cable consists of four coiled strands, each protected by a very light blue textile fabric. The plug is a balanced 4.4mm gold-plated plug. Its sleeve is a metal cylinder painted in glossy black. It has a slight notch around the plug and a thinner notch near the cable exit. The cable is not protected by a plastic sleeve after exiting the connector. The splitter is the same as the connector sleeve, but shorter. The pin is a black metal ring, in the same style as the other sleeves, with a large inner hole. It is a bit too large for a durable fit, and the cables slide around too easily inside the sleeve, slipping more than they should. The sleeve of the 2Pin 0.78mm connectors is a pair of black metal cylinders with a notch around them in the colour of the channel. The notch is near the cable outlet. The 2Pin interface protrudes from a rectangular, transparent plastic part. There are transparent, semi-rigid, over-ear shaped sleeves for the cables. The cable is hardly stiff and although it is a bit thicker than normal, it is quite manageable and comfortable. Its weight is not high either. Quite good.
Adjustment and Ergonomics
One of the most compromised aspects of the previous F1 model was the ergonomics. The mouthpieces were very short and it was difficult to find the right tips. In this case, the ergonomics are much improved and almost excellent. The size is not too big, the inner shape is almost spherical with slim, longer mouthpieces and a better angle. Now, finding the right tips is easier and the insertion can vary from a shallow fit to almost medium, depending on our morphology and the tips used.
With my homemade foam-filled tips I get a shallow insertion, with very good insulation. The fit is quite good, the capsules rotate until they are seated and well integrated. They are not too bulky in my ears and they don't stick out too much. As I said, although the capsules are metal, the weight is low. Very good improvement over the previous model.
Sound
Profile
The profile moves between a U or a w. The sub-bass is linear, without being predominant and continues towards the mid-bass, thereafter decreasing. The transition to the midrange is smooth while the rise to the upper-midrange is steeper. At that point it maintains a good energy level and extends towards 10kHz with small peaks and gentle valleys. Again, this is an explicit second half of the frequency range, although there is a certain softness to it, the energy is noticeable. In truth, the F1 Pro follows a very similar FR to the Letshuoer S12s, but somewhat softer in many ways, smoothing and refining the bass, midrange and treble, as if to sweeten and homogenise its curve. The result is a more homogeneous sound, less dense in the first half and somewhat more controlled in the second half. Overall, there is a little more light, as there is less darkness.
Bass
The lower area of the F1 Pro is deep without being too dark. It is also quite sensory, with a very good and pleasant texture. That's something that is already demonstrated in the very low-frequency pure tone test. Starting at the lower audible end, its reproduction is surprisingly pure and clean, with very good behaviour, almost devoid of any inappropriate vibration, no colouration and the 20Hz tone is on the perceptible and audible side at 50%. As you go up the frequencies you notice how the energy and power grow, without losing naturalness, nor that deep and realistic character. You can even feel how the execution of the lower notes favours the appearance of a smooth, perceptible, even quite natural texture, with a controlled roughness that never becomes excessive or impostural.
Although the FR extends in a linear fashion towards the midrange, there is no bloat in them, they are just a little more rounded enough to provide volume and a good level of punch, although without being predominant. It is true that the bass has good weight and presence, beyond neutrality, but they don't reach bass-heads territory, although, for their quality, texture and strength they fall squarely in the bass-lovers section. They are elastic enough to add a certain realistic and natural rubberiness, providing that fleshy and physical volume I've already mentioned, as well as a sweet sensation that invites you to turn up the power of the source to fully feel its quality, without losing control. It's worth mentioning how the F1 Pro's are able to absorb the power from the source and deliver it into the bass in a very controlled way, with just enough punch and texture to still sound natural, polite and very engaging. And the best thing is that, despite the power they denote, it is still a permissive bass with the rest of the range, which does not go beyond its frequencies, which dissipates quickly and does not lose speed in its execution. Good planars are known to have low distortion in the bass, and the F1 Pro's is a key characteristic. Moreover, its behaviour in the worst bass passages, in those that are dirty, unfiltered and complex to reproduce, the F1 Pro is able to bring a great deal of sweetness, delicacy, pristine and reliable performance that makes many other IEMS in the same conditions pale in comparison. I insist, the F1 Pro invites you to turn up the volume and say "give me more".
Mids
As I wanted to explain, while bass is not neutral, it is neutral in its behaviour towards the other frequencies. When the song has a powerful bass base, but also a strong vocal presence, the F1s are able to distribute the energy precisely in both areas. I don't talk much about the music I use for testing, but I must admit that the F1 Pro's are excellent when it comes to playing the songs on Massive Attack's Protection album, where Tracey Thorn and Nicolette's vocals melt over a magma of dirty, unfiltered sub-bass and continuous, overlapping bass lines. The F1 Pros have no problem reproducing such heavy bass, nor separating it, being technical enough to decipher it carefully. But, best of all, female vocals are even on top of that bass, being either prominent or on the same level, but never feeling drowned out or distant. The same goes for the instrumentation, which prevails with enough autonomy to be explicit and descriptive.
My first impression of the F1 Pro was fairly neutral. I didn't feel they were spectacular. Their low end is not very powerful, although it is clearly beyond neutral, but without being predominant. The midranges are somewhat closer than in other planars, but without being prominent. But, they stay ahead in the mix, even surprisingly closer than the FR seems to indicate.
The first half of the midrange has a physical and full-bodied base, the male voices sound quite full, but slightly behind the bass and female voices, which are the real protagonists of the midrange. The male voices may gain presence if they are lower or if they are higher, in that respect, the basses and tenors will have more privileges in the mix. Even so, the timbre of all of them is very adequate, within that natural neutrality that on that first impression does not attract attention, but on subsequent and more selective listening, one begins to notice an improved behaviour, a superior performance, a quiet ability that separates them from the usual suspects. In this way, without euphemism, the F1 Pros describe the midranges with breathtaking ease, with flourishing but not blatant detail, with nuances that are visible but not overt or spectacular. It's a range without artifice, one that advocates a descriptive presence, but is noiseless, no pomp, even polite, almost shy in its exposition. But, little by little, this seemingly modest sound grows richer and richer, capable of recreating every aspect of the central range adequately, but without overdoing it.
On the other hand, I feel that the vocals have some advantage over the instrumentation, but when the instrumentation is filled with guitars and higher-pitched sounds, the contest evens out. But even in those situations, the midrange and highs remain controlled and smooth. I can't say that the sound is warm at this point, but there is a certain edge that calms the energy in this area, limiting hiss and the sharper character of some recordings that are too explicit in these frequencies. In this way, such situations become more delicate and pleasant, but without diminishing in their level of presence, energy or brightness, just sounding more neutral, calm and polite.
And all of this richness and good work has to be shown in some way. And yes, as with the previous F1, the Pro version is still very detailed, but in a more delicate and refined, again, more pleasing way. Again, I have to resort to terms like naturalness to describe how F1 Pro executes detail: without being completely overt or resolute, micro detail is displayed in an effective and simple, yet obvious way. In that way, the neutrality of the midranges feels reinforced by the enrichment provided by the delicate and refined expressiveness of their nuance, detail and micro detail. And all this, without one hardly noticing it, without making a sound.
Treble
Fortunately, I usually listen to the IEMS before measuring them. And while the choice of tips can counteract some aggressive midrange and treble behaviour, I have to say that the F1 Pro retains the energy level of the first generation planars. However, the twist is in their actual behaviour. I don't doubt that it may still be energetic for some, but its behaviour has improved, being more rounded, efficient, less sharp and penetrating. There is that extended brightness, but it is not an explicit or aggressive crackle, not as crystalline or discernible. It's clearly above the smoothness of the recent S15, but it's not dark. Nor do I find it as fatiguing as the S12, even though it is very similar in its treble energy level. The difference is in the performance. It is possible that this new generation of planars has something to say in this respect, although they still don't find the air level too high.
In short, the F1 Pro's treble is in that classic planar vein, both in terms of energy and extension, but with a softer, more mellow and more pleasing delivery. It's very capable of delivering lots of harmonics, lots of detail and sparkle, but without being too sharp or piercing. It's certainly an improvement over the previous generation, even without losing too much presence.
Soundstage, Separation
The NiceHCK F1 Pro is still not an IEMS with a compact, dense, planar sound, although it is true that it has a more powerful sound than its sibling. Also, it is possible that the improved ergonomics and the possibility to use more suitable tips allow for a fuller sound. With the old F1 and its short mouthpieces, the number of tips to use was very limited. So I had to resort to very wide tips, but without foam filling. With them the sound is cleaner, more vivid, clearer, more transparent, but it is also less full, especially in the first half of the frequency range. However, the Pro version, as you can see from its FR, is somewhat more V-shaped than the previous version with the Silver (Balanced) filter, has a subtle rise in the low end and a clearer one from the midrange onwards. This should give it more of a sense of brightness, clarity and transparency, but it is also counterbalanced by a stronger impression of punch and punch in the lows, due to the increase and also the effect of the foam-filled tips. Be that as it may, and going back to the description of the soundstage, it has a clear sense of depth and width. It is still not enveloping, but it achieves a great laterality and stereo feeling, which clearly reaches 180°, even beyond. There is a noticeable impression of height and a slight hint of ethereal perception. Despite this, the sound is not volatile, gaseous or overly three-dimensional, but it doesn't have that homogeneous feel of the S12s, nor is it as free or thin as the F1s. The F1 Pro recaptures that characteristic density of sound, but demonstrates great technical skill in both separating the elements and describing them in a precise and concrete way. But again, in a natural way that is not analytical or cold. The F1 Pro's achieve realistic micro detail without being sharp or too separated sounding. Separation comes across as natural, without being impressive, but is clearly effective. There are very good technical capabilities without being, at first glance, a purely technical headphone. Perhaps, its virtue lies in that double sensation of calmness, neutrality in the exposure of the music, added to a high but musical level of resolution. All this allows the volume to be turned up without any problems and to see how high the level of definition is.
All in all, the F1 Pro has good separation without being sparse, very good micro detail without being analytical, remarkable precision without being too fine, transparent or glossy. All in all, the image recreation is easy, eloquent, simple to discern, with fairly obvious front and side positioning, where the elements are well distributed. But it is still not an overly broad or clearly specific image.
Comparisons
Hidizs MP145 Gold Filter (Balanced)
Perhaps, the easiest thing to do would be to make a comparison with the F1 model and end the review on a happy note. But I would not be stressing the new NiceHCK model. That's why I want to compare it with one of the best Hidizs models and, also, one of the best planars of this new batch. The MP145 with the balanced filter.
First of all, the difference in size between the two capsules is very clear. The MP145s are large, perhaps too large, but it is very remarkable to note that this is not a negative for their ergonomics and I find them very comfortable as well. It is clear that the integration in my ears is not as neat as it is with the F1 Pro, but the high volume does not imply discomfort. I can wear them for quite some time without any problems. In the long run, though, the NiceHCKs are more comfortable, especially for everyday, out-of-home use. The level of construction is very good in both cases, with a great finish. But both have particular designs. The Hidizs are eye-catching, while the NiceHCK are a bit more simplistic and not as eye-catching, but I think they have improved their design level compared to their siblings. I prefer the standard Hidizs cable, but the New Cyan cable wins the game here, if you choose this option. The MP145s have filters like the F1s already had. The Pro version is without tuning filters. The Hidizs have more specialised tips, but the zippered case of the F1 Pro is clearly a plus. On the other hand, the MP145s have a leatherette pouch that is not up to the standards of a model of its category.
The sound profile of the MP145 with the Gold filter, which is the most balanced of them all, is very similar to that of the NiceHCK F1 Pro. You can see that the differences are very small. In fact, between the two models, the difference between channels could even further equalise the frequency responses. As far as you can see, the clearest difference is in the midrange, subtly more excited, in the early treble. But up to 1.5kHz both responses are completely identical.
In terms of sensitivity, the F1 Pro's are a little more sensitive, at the same source volume, they sound slightly louder.
If the low end is so similar, so is the sound. But I find the F1 Pro's bass a little brighter, clearer, cleaner, less opaque, less muffled and with a little more texture and roughness. These characteristics give the F1 Pro's a technical improvement in the lower range, they seem to have more resolution, better definition, superior descriptive power, more separation even.
In the midrange, this sense of increased brightness, light, clarity and transparency becomes more apparent. The sound of the MP145s feels more muted, drier and a little more together. The F1 pro is sharper, but also more descriptive and cleaner. Details are better outlined and vocals are further forward in the mix, but also very well differentiated. All this gives it a more evident level of nuance, a more explicit, analytical and vivid sound, but without being fatiguing. The result is a more dynamic sound, with greater transparency and separation. It also seems to be somewhat faster in the transients, being somewhat more resolute in the treble and when many notes need to be represented in a faster way. It even seems to have less aftertaste in these cases, as well as more precision in those cases.
The upper zone seems clearer, more evident and more extended in the F1 Pro, it is a little crunchier. For those who are more sensitive to this area they will clearly notice it. The MP145s with the Gold filter are more muted and controlled.
The better sense of clarity and the more analytical, separated and detailed capability of the F1 Pro gives you a wider scene feel, with better separation, more detail and resolution.
But what is the advantage of the Hidizs? Well, they have a Silver filter to enhance the treble, which still makes the two models much more similar and the differences smaller.
Conclusion
The NiceHCK F1 Pro is not just another new planar model. It is clear that they have been inspired by the latest models. But they have managed to generate a sound on a par with their rivals, with very good resolution, clarity, transparency, detail, in a small capsule, much more ergonomic and comfortable than their previous model. The F1 Pro manages to turn a more analytical sound into something more natural and neutral, more musical and pleasant. It is able to combine the best of both worlds: musical and euphonic appeal, with a high level of resolution and detail, but without sounding cold or sharp, but realistic and engaging.
NiceHCK does not create something new, it limits itself to refine its first version, to polish it, to improve it in its most negative aspects, learning from its mistakes and keeping an eye on the most direct competition. If we add to this a price that can be lower in many occasions, good accessories, a smaller, lighter and more comfortable capsule, adding the possibility of adding quality cables that the brand has accustomed us to, the result is very tasty and a clear challenge to the competition. This is how it is done.
Sources Used During the Analysis
Purchase Link
You can read the full review in Spanish here
The famous AliExpress portable audio store NiceHCK released its evolution of its first F1 planar IEM at the end of 2023. Sure enough, it's called F1 Pro. It is a new model containing the next generation of the 14.2mm planar diaphragm driver. It is 2µm thick, uses N55 neodymium magnets and a double-sided magnetic circuit. The capsule is made of aluminium alloy and the ergonomics have been improved compared to the previous model. This time there are no different mouthpieces to change the tuning, but the profile is unique, slightly more polarised than the F1 Silver tuning, but very much in line with the second generation of planar IEMS that came out last year. As standard, the F1 Pro comes with a good set of accessories and its classic shiny, silver-plated cable that has been used on the brand's last few great models. Of course, you can choose with either a 3.5mm SE or 4.4mm BAL plug. But you can also choose with alternative cables. These include the FirstTouch cable or the New Cyan Cable. For this review, it was fortunate that the cable provided was the special New Cyan cable. It was used for this article. Let's see what a great pair the two elements are.
Specifications
- Driver Type: New generation 14.2mm planar diaphragm driver.
- Frequency Response: 20-28000Hz.
- Sensitivity 104dB/mW.
- Impedance: 16Ω.
- Capsule material: aluminium alloy.
- Cable conductor material: OCC and silver-plated mixed cable.
- Jack connector: choice between SE 3.5mm and BAL 4.4mm.
- Capsule Connection Type: 2Pin 0.78mm.
Packaging
The F1 Pro comes in a sober medium-sized blue box with gold lettering, whose dimensions are 170x117x47mm. On the main side you can see the brand logo and the model name in the centre. Nothing else. On the back side there is not much more, again the name of the model and a small description underneath, also in the centre. At the bottom, on the left are the contact details and on the right an EAN13 code and the logos of the certifications it complies with. After removing the cardboard, a completely white box with the brand logo in the centre is displayed... when the lid is lifted, the classic protective configuration is revealed: a white mould containing the capsules, a white box with the logo in its centre, which houses a zipped case with the accessories. In summary, the complete contents are as follows:
- Both capsules F1 pro.
- Warranty card.
- User's manual.
- Leatherette case with zip.
- OCC and silver-plated mixed cable.
- Three pairs of grey silicone tips, sizes S-M-L.
- Four pairs of black silicone tips with coloured core, sizes XS-S-M-L.
- Five pairs of white translucent silicone tips and coloured core, sizes XS-S-M-L-XL.
Nice set of tips, with a remarkable zippered case, with the right size to protect the IEMS. NiceHCK leaves behind their good chest cases and goes back to using the zip, increasing the interior space in a good way. The cable is the classic of the latest models, as are the tip sets. If there is one thing missing, it might be the foam tips, although it is true that they are less and less used as standard accessories these days.
Construction and Design
The capsules of the F1 Pro are made of aluminium alloy and machined by a 5-axis CNC. The outer face is almost circular, but with a rectangular corner. At the point where the rectangle ends and the circle begins, there is a small, narrow triangular-shaped trench with a gold background. The rest of the capsule is light blue. At the edge and close to this bezel, there is a 2Pin 0.78mm connection interface, fully integrated into the capsule. It consists of a rectangular piece of translucent plastic, while the female connection is gold-plated. On the other side of the apex, there is the model name, the brand name and the mole containing the letter indicating the channel, all in white lettering. It could be said that this part is the base of the capsule and that a more cylindrical, very rounded and ergonomic inner face emerges from it. It contains a hole in its centre, while the nozzles grow close to the rim. They are not too long, although they are longer than those of the previous model, a clear weak point of that first F1. Up to the mouthpiece, the entire inner face of the capsule is integrally constructed. The outer crown diameter is 5.9mm. The mouthpieces are protected by a metal grille with several overlapping spiral patterns. Despite the metal construction the weight is low.
The standard cable consists of a fairly soft double braid. The material is mixed OCC copper with silver plated cores. It is light, mouldable and shiny. The sleeves of the 2Pin 0.78mm connectors are rounded cylinders at the end of the cable, with red and blue rings to indicate the channel. They are smooth, shiny and polished metallic, but have a roughened band for easy gripping. The plug sleeve has the same design, but is longer. The plug is 4.4mm balanced. The splitter is completely smooth and the pin is a metal ring with a rough surface. It has over-ear guides, but they are smooth, like the whole cable, which is very mouldable.
The special New Cyan cable consists of four coiled strands, each protected by a very light blue textile fabric. The plug is a balanced 4.4mm gold-plated plug. Its sleeve is a metal cylinder painted in glossy black. It has a slight notch around the plug and a thinner notch near the cable exit. The cable is not protected by a plastic sleeve after exiting the connector. The splitter is the same as the connector sleeve, but shorter. The pin is a black metal ring, in the same style as the other sleeves, with a large inner hole. It is a bit too large for a durable fit, and the cables slide around too easily inside the sleeve, slipping more than they should. The sleeve of the 2Pin 0.78mm connectors is a pair of black metal cylinders with a notch around them in the colour of the channel. The notch is near the cable outlet. The 2Pin interface protrudes from a rectangular, transparent plastic part. There are transparent, semi-rigid, over-ear shaped sleeves for the cables. The cable is hardly stiff and although it is a bit thicker than normal, it is quite manageable and comfortable. Its weight is not high either. Quite good.
Adjustment and Ergonomics
One of the most compromised aspects of the previous F1 model was the ergonomics. The mouthpieces were very short and it was difficult to find the right tips. In this case, the ergonomics are much improved and almost excellent. The size is not too big, the inner shape is almost spherical with slim, longer mouthpieces and a better angle. Now, finding the right tips is easier and the insertion can vary from a shallow fit to almost medium, depending on our morphology and the tips used.
With my homemade foam-filled tips I get a shallow insertion, with very good insulation. The fit is quite good, the capsules rotate until they are seated and well integrated. They are not too bulky in my ears and they don't stick out too much. As I said, although the capsules are metal, the weight is low. Very good improvement over the previous model.
Sound
Profile
The profile moves between a U or a w. The sub-bass is linear, without being predominant and continues towards the mid-bass, thereafter decreasing. The transition to the midrange is smooth while the rise to the upper-midrange is steeper. At that point it maintains a good energy level and extends towards 10kHz with small peaks and gentle valleys. Again, this is an explicit second half of the frequency range, although there is a certain softness to it, the energy is noticeable. In truth, the F1 Pro follows a very similar FR to the Letshuoer S12s, but somewhat softer in many ways, smoothing and refining the bass, midrange and treble, as if to sweeten and homogenise its curve. The result is a more homogeneous sound, less dense in the first half and somewhat more controlled in the second half. Overall, there is a little more light, as there is less darkness.
Bass
The lower area of the F1 Pro is deep without being too dark. It is also quite sensory, with a very good and pleasant texture. That's something that is already demonstrated in the very low-frequency pure tone test. Starting at the lower audible end, its reproduction is surprisingly pure and clean, with very good behaviour, almost devoid of any inappropriate vibration, no colouration and the 20Hz tone is on the perceptible and audible side at 50%. As you go up the frequencies you notice how the energy and power grow, without losing naturalness, nor that deep and realistic character. You can even feel how the execution of the lower notes favours the appearance of a smooth, perceptible, even quite natural texture, with a controlled roughness that never becomes excessive or impostural.
Although the FR extends in a linear fashion towards the midrange, there is no bloat in them, they are just a little more rounded enough to provide volume and a good level of punch, although without being predominant. It is true that the bass has good weight and presence, beyond neutrality, but they don't reach bass-heads territory, although, for their quality, texture and strength they fall squarely in the bass-lovers section. They are elastic enough to add a certain realistic and natural rubberiness, providing that fleshy and physical volume I've already mentioned, as well as a sweet sensation that invites you to turn up the power of the source to fully feel its quality, without losing control. It's worth mentioning how the F1 Pro's are able to absorb the power from the source and deliver it into the bass in a very controlled way, with just enough punch and texture to still sound natural, polite and very engaging. And the best thing is that, despite the power they denote, it is still a permissive bass with the rest of the range, which does not go beyond its frequencies, which dissipates quickly and does not lose speed in its execution. Good planars are known to have low distortion in the bass, and the F1 Pro's is a key characteristic. Moreover, its behaviour in the worst bass passages, in those that are dirty, unfiltered and complex to reproduce, the F1 Pro is able to bring a great deal of sweetness, delicacy, pristine and reliable performance that makes many other IEMS in the same conditions pale in comparison. I insist, the F1 Pro invites you to turn up the volume and say "give me more".
Mids
As I wanted to explain, while bass is not neutral, it is neutral in its behaviour towards the other frequencies. When the song has a powerful bass base, but also a strong vocal presence, the F1s are able to distribute the energy precisely in both areas. I don't talk much about the music I use for testing, but I must admit that the F1 Pro's are excellent when it comes to playing the songs on Massive Attack's Protection album, where Tracey Thorn and Nicolette's vocals melt over a magma of dirty, unfiltered sub-bass and continuous, overlapping bass lines. The F1 Pros have no problem reproducing such heavy bass, nor separating it, being technical enough to decipher it carefully. But, best of all, female vocals are even on top of that bass, being either prominent or on the same level, but never feeling drowned out or distant. The same goes for the instrumentation, which prevails with enough autonomy to be explicit and descriptive.
My first impression of the F1 Pro was fairly neutral. I didn't feel they were spectacular. Their low end is not very powerful, although it is clearly beyond neutral, but without being predominant. The midranges are somewhat closer than in other planars, but without being prominent. But, they stay ahead in the mix, even surprisingly closer than the FR seems to indicate.
The first half of the midrange has a physical and full-bodied base, the male voices sound quite full, but slightly behind the bass and female voices, which are the real protagonists of the midrange. The male voices may gain presence if they are lower or if they are higher, in that respect, the basses and tenors will have more privileges in the mix. Even so, the timbre of all of them is very adequate, within that natural neutrality that on that first impression does not attract attention, but on subsequent and more selective listening, one begins to notice an improved behaviour, a superior performance, a quiet ability that separates them from the usual suspects. In this way, without euphemism, the F1 Pros describe the midranges with breathtaking ease, with flourishing but not blatant detail, with nuances that are visible but not overt or spectacular. It's a range without artifice, one that advocates a descriptive presence, but is noiseless, no pomp, even polite, almost shy in its exposition. But, little by little, this seemingly modest sound grows richer and richer, capable of recreating every aspect of the central range adequately, but without overdoing it.
On the other hand, I feel that the vocals have some advantage over the instrumentation, but when the instrumentation is filled with guitars and higher-pitched sounds, the contest evens out. But even in those situations, the midrange and highs remain controlled and smooth. I can't say that the sound is warm at this point, but there is a certain edge that calms the energy in this area, limiting hiss and the sharper character of some recordings that are too explicit in these frequencies. In this way, such situations become more delicate and pleasant, but without diminishing in their level of presence, energy or brightness, just sounding more neutral, calm and polite.
And all of this richness and good work has to be shown in some way. And yes, as with the previous F1, the Pro version is still very detailed, but in a more delicate and refined, again, more pleasing way. Again, I have to resort to terms like naturalness to describe how F1 Pro executes detail: without being completely overt or resolute, micro detail is displayed in an effective and simple, yet obvious way. In that way, the neutrality of the midranges feels reinforced by the enrichment provided by the delicate and refined expressiveness of their nuance, detail and micro detail. And all this, without one hardly noticing it, without making a sound.
Treble
Fortunately, I usually listen to the IEMS before measuring them. And while the choice of tips can counteract some aggressive midrange and treble behaviour, I have to say that the F1 Pro retains the energy level of the first generation planars. However, the twist is in their actual behaviour. I don't doubt that it may still be energetic for some, but its behaviour has improved, being more rounded, efficient, less sharp and penetrating. There is that extended brightness, but it is not an explicit or aggressive crackle, not as crystalline or discernible. It's clearly above the smoothness of the recent S15, but it's not dark. Nor do I find it as fatiguing as the S12, even though it is very similar in its treble energy level. The difference is in the performance. It is possible that this new generation of planars has something to say in this respect, although they still don't find the air level too high.
In short, the F1 Pro's treble is in that classic planar vein, both in terms of energy and extension, but with a softer, more mellow and more pleasing delivery. It's very capable of delivering lots of harmonics, lots of detail and sparkle, but without being too sharp or piercing. It's certainly an improvement over the previous generation, even without losing too much presence.
Soundstage, Separation
The NiceHCK F1 Pro is still not an IEMS with a compact, dense, planar sound, although it is true that it has a more powerful sound than its sibling. Also, it is possible that the improved ergonomics and the possibility to use more suitable tips allow for a fuller sound. With the old F1 and its short mouthpieces, the number of tips to use was very limited. So I had to resort to very wide tips, but without foam filling. With them the sound is cleaner, more vivid, clearer, more transparent, but it is also less full, especially in the first half of the frequency range. However, the Pro version, as you can see from its FR, is somewhat more V-shaped than the previous version with the Silver (Balanced) filter, has a subtle rise in the low end and a clearer one from the midrange onwards. This should give it more of a sense of brightness, clarity and transparency, but it is also counterbalanced by a stronger impression of punch and punch in the lows, due to the increase and also the effect of the foam-filled tips. Be that as it may, and going back to the description of the soundstage, it has a clear sense of depth and width. It is still not enveloping, but it achieves a great laterality and stereo feeling, which clearly reaches 180°, even beyond. There is a noticeable impression of height and a slight hint of ethereal perception. Despite this, the sound is not volatile, gaseous or overly three-dimensional, but it doesn't have that homogeneous feel of the S12s, nor is it as free or thin as the F1s. The F1 Pro recaptures that characteristic density of sound, but demonstrates great technical skill in both separating the elements and describing them in a precise and concrete way. But again, in a natural way that is not analytical or cold. The F1 Pro's achieve realistic micro detail without being sharp or too separated sounding. Separation comes across as natural, without being impressive, but is clearly effective. There are very good technical capabilities without being, at first glance, a purely technical headphone. Perhaps, its virtue lies in that double sensation of calmness, neutrality in the exposure of the music, added to a high but musical level of resolution. All this allows the volume to be turned up without any problems and to see how high the level of definition is.
All in all, the F1 Pro has good separation without being sparse, very good micro detail without being analytical, remarkable precision without being too fine, transparent or glossy. All in all, the image recreation is easy, eloquent, simple to discern, with fairly obvious front and side positioning, where the elements are well distributed. But it is still not an overly broad or clearly specific image.
Comparisons
Hidizs MP145 Gold Filter (Balanced)
Perhaps, the easiest thing to do would be to make a comparison with the F1 model and end the review on a happy note. But I would not be stressing the new NiceHCK model. That's why I want to compare it with one of the best Hidizs models and, also, one of the best planars of this new batch. The MP145 with the balanced filter.
First of all, the difference in size between the two capsules is very clear. The MP145s are large, perhaps too large, but it is very remarkable to note that this is not a negative for their ergonomics and I find them very comfortable as well. It is clear that the integration in my ears is not as neat as it is with the F1 Pro, but the high volume does not imply discomfort. I can wear them for quite some time without any problems. In the long run, though, the NiceHCKs are more comfortable, especially for everyday, out-of-home use. The level of construction is very good in both cases, with a great finish. But both have particular designs. The Hidizs are eye-catching, while the NiceHCK are a bit more simplistic and not as eye-catching, but I think they have improved their design level compared to their siblings. I prefer the standard Hidizs cable, but the New Cyan cable wins the game here, if you choose this option. The MP145s have filters like the F1s already had. The Pro version is without tuning filters. The Hidizs have more specialised tips, but the zippered case of the F1 Pro is clearly a plus. On the other hand, the MP145s have a leatherette pouch that is not up to the standards of a model of its category.
The sound profile of the MP145 with the Gold filter, which is the most balanced of them all, is very similar to that of the NiceHCK F1 Pro. You can see that the differences are very small. In fact, between the two models, the difference between channels could even further equalise the frequency responses. As far as you can see, the clearest difference is in the midrange, subtly more excited, in the early treble. But up to 1.5kHz both responses are completely identical.
In terms of sensitivity, the F1 Pro's are a little more sensitive, at the same source volume, they sound slightly louder.
If the low end is so similar, so is the sound. But I find the F1 Pro's bass a little brighter, clearer, cleaner, less opaque, less muffled and with a little more texture and roughness. These characteristics give the F1 Pro's a technical improvement in the lower range, they seem to have more resolution, better definition, superior descriptive power, more separation even.
In the midrange, this sense of increased brightness, light, clarity and transparency becomes more apparent. The sound of the MP145s feels more muted, drier and a little more together. The F1 pro is sharper, but also more descriptive and cleaner. Details are better outlined and vocals are further forward in the mix, but also very well differentiated. All this gives it a more evident level of nuance, a more explicit, analytical and vivid sound, but without being fatiguing. The result is a more dynamic sound, with greater transparency and separation. It also seems to be somewhat faster in the transients, being somewhat more resolute in the treble and when many notes need to be represented in a faster way. It even seems to have less aftertaste in these cases, as well as more precision in those cases.
The upper zone seems clearer, more evident and more extended in the F1 Pro, it is a little crunchier. For those who are more sensitive to this area they will clearly notice it. The MP145s with the Gold filter are more muted and controlled.
The better sense of clarity and the more analytical, separated and detailed capability of the F1 Pro gives you a wider scene feel, with better separation, more detail and resolution.
But what is the advantage of the Hidizs? Well, they have a Silver filter to enhance the treble, which still makes the two models much more similar and the differences smaller.
Conclusion
The NiceHCK F1 Pro is not just another new planar model. It is clear that they have been inspired by the latest models. But they have managed to generate a sound on a par with their rivals, with very good resolution, clarity, transparency, detail, in a small capsule, much more ergonomic and comfortable than their previous model. The F1 Pro manages to turn a more analytical sound into something more natural and neutral, more musical and pleasant. It is able to combine the best of both worlds: musical and euphonic appeal, with a high level of resolution and detail, but without sounding cold or sharp, but realistic and engaging.
NiceHCK does not create something new, it limits itself to refine its first version, to polish it, to improve it in its most negative aspects, learning from its mistakes and keeping an eye on the most direct competition. If we add to this a price that can be lower in many occasions, good accessories, a smaller, lighter and more comfortable capsule, adding the possibility of adding quality cables that the brand has accustomed us to, the result is very tasty and a clear challenge to the competition. This is how it is done.
Sources Used During the Analysis
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- Aune M1p.
- Aune Yuki.
- Burson Audio Playmate II.
- Hidizs S9 Pro Plus Martha.
NiceHCK Audio Store, 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.
Purchase Link
You can read the full review in Spanish here
DISCLAIMER
I would like to thank NiceHCK for providing the F1 Pro.
It can be gotten here: https://www.aliexpress.us/item/1005006228604236.html (no affiliate links).
SPECIFICATIONS
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of soft narrow-bore silicone eartips
- 3 pairs of firm narrow-bore silicone eartips
- 5 pairs of wide-bore silicone eartips
- Cable
- Carrying case
- Cable tie
Truly, this is quite generous fare for a $100ish IEM; I've definitely seen pricier products with stingier accessories.
While no foam tips are included, we have 3 variants of silicone eartips. The narrow-bore ones boost bass (at the expense of soundstaging), and one set has a softer feel compared to the other. The wide-bore tips enlarge soundstage and increase treble air. Do explore around to see what suits your needs.
Included is an OCC and silver-plated stock cable. This comes in a 2-pin configuration (which is generally more robust than MMCX). It is very well-braided, with a chin cinch. There's just a slight smattering of microphonics, and it is quite tangle-free. During ordering, one can opt for a 3.5 mm or 4.4 mm termination.
Last but not least, we have a leatherette zipper case. The insides are lined with a soft material and webbing.
The rest of this review was done with the stock cable and stock wide-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The F1 Pro comes in a blue aluminum alloy shade, fashioned from 5-axis CNC machining. It is built like a tank, and I've no complaints regarding the external chassis.
Despite the shells lying on the larger side, I found their ergonomics to be quite agreeable, with no discomfort on using the F1 Pro for longer listening sessions.
This is a vented IEM, and isolation is bang average. Driver flex is absent, which is a sign of a well-designed acoustic chamber.
DRIVABILITY
I tested the F1 Pro with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
This IEM is easily driven even from weak sources, and amplification is not 100% compulsory.
INTERNALS
The F1 Pro's engine is a 14.2 mm planar driver, with a 2 um ultra-thin diaphragm paired with N55 neodymium magnets.
SOUND & TECHNICALITIES
Graph of the F1 Pro via IEC711 coupler. 8 kHz is a coupler peak.
Tonally, the F1 Pro boasts of a V-shaped profile, which is pretty all-rounded for most consumer preferences.
When a good eartip seal is achieved, the F1 Pro sounds like a sub-bass focused IEM, with a throaty visceral rumble heard on sub-bass predominant tracks. Bass quality is more than decent - we hear a nimble bassline with no mid-bass bleeding. Texturing is also well-rendered.
The lower midrange is recessed, and this IEM is perhaps not for midrange lovers. Thankfully, the lack of a big bass encroachment leaves this area relatively transparent. With a 7 dB ear gain, the upper mids are forwards without pushing into overtly shoutfest territory.
The F1 Pro has a boost in the lower treble region, and it has moderate treble extension in the upper treble. There are instance of sibilance, though splashiness of cymbals and highhats are minimal.
Timbral accuracy is a bone of contention for most planar IEMs. And as expected, the F1 Pro is not as natural here as say compared to single DDs timbre. Acoustic instruments have a sense of weightlessness and overly rapid transients, but it is not the worst offender in this department - we will go into comparisons below and there are some competitor planars which fare much worse here.
Technicalities are certainly good on this IEM. We have very fair micro-detailing and accurate imaging, with spacious instrument separation. Soundstage is quite deep and tall, with above average width.
COMPARISONS
Comparisons were made with other $100ish USD planars. Pure BA, hybrids and single DDs were left out of the comparisons as the different driver types have their pros and cons.
NiceHCK F1 (original)
Graphs of the NiceHCK F1 (original) via IEC711 coupler. 8 kHz is a coupler peak.
The original F1 was an interesting planar with 3 tuning nozzles, to vary the sonics along a spectrum from bassier fare to a neutral bright specimen. Thus, it is more versatile than most other planar IEMs competitors.
With the silver (balanced) nozzle installed on the original F1, it is tamer in the upper frequencies compared to the F1 Pro.
The F1 Pro is not really a "Pro" version in the sense of tunability/versatility, but it certainly is an upgrade when it comes to technicalities. The original F1 has weaker technical chops, losing in soundstage, micro-detailing, imaging and instrument separation.
Letshuoer S12 Pro
The S12 Pro is also a V-shaped planar. It is thinner sounding, and is more fatiguing in the upper frequencies, with more marked sibilance.
The S12 Pro has an obvious metallic timbre, and doesn't sound as natural. In terms of technicalities, the S12 Pro has inferior soundstaging and imaging, but it has a bit more clarity and micro-detailing, which is partially a function of its brighter treble.
Kefine Klanar
The Klanar is another V-shaped set. It has a less tight bass, with worse texturing. The Klanar has a more zealous upper midrange, and vocals are somewhat shoutier here compared to the F1 Pro.
Timbre is a bit less natural on the Klanar. In terms of technicalities, they are quite close - perhaps the Klanar is just a hair worse in imaging and soundstaging, with similar levels of resolution on both.
CONCLUSIONS
2022 was the start of the planar craze, and 2023 was the year that planar IEMs became mainstream and accessible; indeed, we now routinely see sub-$100 planar releases (and I don't mean the pseudo square planar tech, but true legit planar IEMs). The technology is still evolving, and in my assessment, the F1 Pro is an incremental improvement over some of the current $100ish range planar gear.
The F1 Pro's packaging is quite generous, and it is easily driven, coupled with decent ergonomics and robust build. Sound-wise, the F1 Pro is no slouch, presenting a consumer-friendly V-shaped signature, that should pair well with the majority of music genres. Technicalities are also quite accomplished on this set, with imaging and instrument separation a highlight.
The F1 Pro sadly, does not have the versatility of its predecessor, as there are no tuning nozzles here. But it does beat the original F1 handily when it comes to technicalities, and is thus partially deserving of the "Pro" moniker.
For the treble-sensitive, the F1 Pro is admittedly a bit sibilant, with a slight planar sheen heard, but it certainly isn't the worst offender in these areas, say compared to current benchmarks like the S12 Pro.
The planar market is getting more saturated and competitive, and if one wants to dabble in the pond for their first $100ish planar IEM, the F1 Pro is not perfect, but is certainly not a bad set to consider.
I would like to thank NiceHCK for providing the F1 Pro.
It can be gotten here: https://www.aliexpress.us/item/1005006228604236.html (no affiliate links).
SPECIFICATIONS
- Driver configuration: 14.2 mm planar driver
- Impedance: 16 Ω
- Frequency response: 20 Hz - 28 kHz
- Sensitivity: 104 dB/mW
- Cable: 2-pin, 0.78 mm cable; OCC and silver-plated cable; 3.5 mm or 4.4 mm termination
- Tested at $99 - 104 USD, depending on cable choice
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of soft narrow-bore silicone eartips
- 3 pairs of firm narrow-bore silicone eartips
- 5 pairs of wide-bore silicone eartips
- Cable
- Carrying case
- Cable tie
Truly, this is quite generous fare for a $100ish IEM; I've definitely seen pricier products with stingier accessories.
While no foam tips are included, we have 3 variants of silicone eartips. The narrow-bore ones boost bass (at the expense of soundstaging), and one set has a softer feel compared to the other. The wide-bore tips enlarge soundstage and increase treble air. Do explore around to see what suits your needs.
Included is an OCC and silver-plated stock cable. This comes in a 2-pin configuration (which is generally more robust than MMCX). It is very well-braided, with a chin cinch. There's just a slight smattering of microphonics, and it is quite tangle-free. During ordering, one can opt for a 3.5 mm or 4.4 mm termination.
Last but not least, we have a leatherette zipper case. The insides are lined with a soft material and webbing.
The rest of this review was done with the stock cable and stock wide-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The F1 Pro comes in a blue aluminum alloy shade, fashioned from 5-axis CNC machining. It is built like a tank, and I've no complaints regarding the external chassis.
Despite the shells lying on the larger side, I found their ergonomics to be quite agreeable, with no discomfort on using the F1 Pro for longer listening sessions.
This is a vented IEM, and isolation is bang average. Driver flex is absent, which is a sign of a well-designed acoustic chamber.
DRIVABILITY
I tested the F1 Pro with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
This IEM is easily driven even from weak sources, and amplification is not 100% compulsory.
INTERNALS
The F1 Pro's engine is a 14.2 mm planar driver, with a 2 um ultra-thin diaphragm paired with N55 neodymium magnets.
SOUND & TECHNICALITIES
Graph of the F1 Pro via IEC711 coupler. 8 kHz is a coupler peak.
Tonally, the F1 Pro boasts of a V-shaped profile, which is pretty all-rounded for most consumer preferences.
When a good eartip seal is achieved, the F1 Pro sounds like a sub-bass focused IEM, with a throaty visceral rumble heard on sub-bass predominant tracks. Bass quality is more than decent - we hear a nimble bassline with no mid-bass bleeding. Texturing is also well-rendered.
The lower midrange is recessed, and this IEM is perhaps not for midrange lovers. Thankfully, the lack of a big bass encroachment leaves this area relatively transparent. With a 7 dB ear gain, the upper mids are forwards without pushing into overtly shoutfest territory.
The F1 Pro has a boost in the lower treble region, and it has moderate treble extension in the upper treble. There are instance of sibilance, though splashiness of cymbals and highhats are minimal.
Timbral accuracy is a bone of contention for most planar IEMs. And as expected, the F1 Pro is not as natural here as say compared to single DDs timbre. Acoustic instruments have a sense of weightlessness and overly rapid transients, but it is not the worst offender in this department - we will go into comparisons below and there are some competitor planars which fare much worse here.
Technicalities are certainly good on this IEM. We have very fair micro-detailing and accurate imaging, with spacious instrument separation. Soundstage is quite deep and tall, with above average width.
COMPARISONS
Comparisons were made with other $100ish USD planars. Pure BA, hybrids and single DDs were left out of the comparisons as the different driver types have their pros and cons.
NiceHCK F1 (original)
Graphs of the NiceHCK F1 (original) via IEC711 coupler. 8 kHz is a coupler peak.
The original F1 was an interesting planar with 3 tuning nozzles, to vary the sonics along a spectrum from bassier fare to a neutral bright specimen. Thus, it is more versatile than most other planar IEMs competitors.
With the silver (balanced) nozzle installed on the original F1, it is tamer in the upper frequencies compared to the F1 Pro.
The F1 Pro is not really a "Pro" version in the sense of tunability/versatility, but it certainly is an upgrade when it comes to technicalities. The original F1 has weaker technical chops, losing in soundstage, micro-detailing, imaging and instrument separation.
Letshuoer S12 Pro
The S12 Pro is also a V-shaped planar. It is thinner sounding, and is more fatiguing in the upper frequencies, with more marked sibilance.
The S12 Pro has an obvious metallic timbre, and doesn't sound as natural. In terms of technicalities, the S12 Pro has inferior soundstaging and imaging, but it has a bit more clarity and micro-detailing, which is partially a function of its brighter treble.
Kefine Klanar
The Klanar is another V-shaped set. It has a less tight bass, with worse texturing. The Klanar has a more zealous upper midrange, and vocals are somewhat shoutier here compared to the F1 Pro.
Timbre is a bit less natural on the Klanar. In terms of technicalities, they are quite close - perhaps the Klanar is just a hair worse in imaging and soundstaging, with similar levels of resolution on both.
CONCLUSIONS
2022 was the start of the planar craze, and 2023 was the year that planar IEMs became mainstream and accessible; indeed, we now routinely see sub-$100 planar releases (and I don't mean the pseudo square planar tech, but true legit planar IEMs). The technology is still evolving, and in my assessment, the F1 Pro is an incremental improvement over some of the current $100ish range planar gear.
The F1 Pro's packaging is quite generous, and it is easily driven, coupled with decent ergonomics and robust build. Sound-wise, the F1 Pro is no slouch, presenting a consumer-friendly V-shaped signature, that should pair well with the majority of music genres. Technicalities are also quite accomplished on this set, with imaging and instrument separation a highlight.
The F1 Pro sadly, does not have the versatility of its predecessor, as there are no tuning nozzles here. But it does beat the original F1 handily when it comes to technicalities, and is thus partially deserving of the "Pro" moniker.
For the treble-sensitive, the F1 Pro is admittedly a bit sibilant, with a slight planar sheen heard, but it certainly isn't the worst offender in these areas, say compared to current benchmarks like the S12 Pro.
The planar market is getting more saturated and competitive, and if one wants to dabble in the pond for their first $100ish planar IEM, the F1 Pro is not perfect, but is certainly not a bad set to consider.
baskingshark
@Singaravelan the Hidizs MP145 is going at $159 USD or so which is like more than 1.5x the price of this IEM.
I try to compare with stuff at around the same ballpark price for a fairer comparison, so stuff at sub $100 like the Kefine Klanar or just slightly above $100 for the S12 Pro. But for sure the MP145 is a better IEM in terms of technicalities and timbre, though perhaps not as well fitting due to the larger shell.
I try to compare with stuff at around the same ballpark price for a fairer comparison, so stuff at sub $100 like the Kefine Klanar or just slightly above $100 for the S12 Pro. But for sure the MP145 is a better IEM in terms of technicalities and timbre, though perhaps not as well fitting due to the larger shell.
Redcarmoose
F1 Pro from $99, add $1 to get Cyan cable
code【LOVEF1PRO】
It is now in effect and available for use.
This code ends at 23:59 Pacific Time on the 7th.
https://www.aliexpress.us/item/1005006228604236.html
code【LOVEF1PRO】
It is now in effect and available for use.
This code ends at 23:59 Pacific Time on the 7th.
https://www.aliexpress.us/item/1005006228604236.html
Planar magnetic drivers in IEMs. The driver configuration that I have been so desperately trying to love, yet I have been left wanting again and again. Can the new entry to the rank of planar magnetic, NiceHck F1 Pro, change this predicament? Let’s find out.
Whilst I have bought many cables from NiceHck, F1 Pro was the my first IEM from this manufacturer. I was pleasantly surprised by the simple yet elegant design of the packaging and the provided accessories. Inside the box, you would find three types of ear tips, all of which can introduce noticeable changes to the sound signature of the IEM, particularly in the treble and bass region. I highly recommend that you try all of the provided tips to find the ones that best suits your ear anatomy and sonic preference.
The stock cable was also well designed. The chrome plated hardware fits the overall aesthetic of F1 Pro well. I am particularly happy that the 2-pin connectors sit flush against the ear pieces. Not many stock cables provide this flushed fit, even when they come from manufactures well known for cable making. The wires themselves are mostly well-behaved. Subjective Experience ===
As usual, our discussion of subjective experience starts with fit and comfort. Luckily, this section will be short: F1 Pro is simply “average.” The nozzles have average width and length that comfortably fit most ear tips besides the narrower ones like Final Type E. As a result, the F1 Pro does not create pressure hot spots within the ear canals in long listening sessions. The part of the earpieces resting against the ears is circular in shape without any edge or contour, so F1 Pro does not stress the outer ears. Moreover, you can tweak the angle of the nozzles by twisting the earpieces forward or backwards.
Due to the shape of the F1 Pro, your fit and comfort would depend almost entirely on your choice of ear tips. I found F1 Pro respond well to changing ear tips. To my ears, the bass of F1 Pro becomes thicker and more punchy, with the stock ear tips having a dense core and wide opening. Ear tips with softer cores, like the SpinFit CP100, reduce the perceived “density” of the bass. Moreover, longer ear tips like these CP100 can lengthen the distance between the earpieces and your eardrums, which creates the illusion that the soundstage is more spread out. As usual, every choice is a trade-off you must experiment with and decide for yourself. I opt for CP100 in medium size for the rest of this review.
Now, let’s talk about how F1 Pro sounds.
The overall theme of the sonic performance of F1 Pro can be summarised as “entertaining.” This IEM excels at reproducing percussive instruments such as drums and pianos with clear note attacks. Fingerstyle guitar tracks also sound great. These instruments play to the strength of F1 Pro, which combines having a decent amount of bass and the ability to rapidly reproduce volume swings (transients).
For example, the bass line in the iconic soundtrack of Persona 4, “Heartbeat, Heartbreak”, is ever so satisfying with F1 Pro. Every beat has a crisp attack edge and pleasing physical impact above “neutral” without overpowering the rest of the frequencies. As a result of the tonal balance, the F1 Pro does not sound closed off and congested, a problem that some bass-heavy IEMs can face.
At the same time, the decay end of the bass note is rich in texture and details. In particular, the decay of the bass sounds like “brrrrm” rather than “ummmm”. If I pay attention, I can also pick out the pitch of the bass notes rather than simply low-pitched rumbles.
GOAT by Polyphia is another piece that plays well with the strength of F1 Pro. This complex piece has everything: all sorts of percussive sounds layering upon each other, big bass drops, and the sense of ambience and distance created by the outermost background layer of the mix. F1 Pro can handle the complexity easily and stands up to critical listening well. In fact, it performs the instrument definition and separation so well that I needed to stop my listening session to bring out the “big guns” for comparison. We will discuss the result of such a comparison later in this review. The only aspect I dock points from F1 Pro is the soundstage imaging. It does not spread the instruments out and push the background far enough to create a holographic sensation in sections such as around the 1:10 mark.
Another area where F1 Pro loses ground is the handling of flowing, legato instruments and musical passages. Similarly to a few other planar IEMs I have tested, F1 Pro still has that ever-so-slightly edginess midrange and metallic timbre that does not stand up to critical listening.
For example, let’s listen to “Can’t Help Falling in Love” by Pentatonix in their PTX Vol. IV album. On the plus side, F1 Pro does an outstanding job at separating and layering, ensuring that every vocal line has clarity and clear separation from others. On the other hand, no matter how I try, I cannot convince myself to enjoy the vocals due to the ever-so-slightly cold and stiff reproduction. It’s not a tuning problem. When I swapped Effect Audio Gaea, an IEM notorious for having a bright and lean tonality, I found an extra layer of richness that makes the vocals sound “full.” Interestingly, I found F1 Pro to be more sibilant than the notorious Gaea in this track.
As another example, I listened to the Goldberg Variations transcription for Violin, Viola, and Cello performed by Julian Rachlin, Nobuko Imai, and Mischa Maisky. Again, whilst F1 Pro does not colour the instruments incorrectly in any way, that intangible metallic timbre prevents the strings from being truly enjoyable.
To be clear, these observations do not mean that F1 Pro is incompatible with vocals and acoustic music. It is perfectly alright, though I would not actively pick F1 Pro for this part of my library. For the more upbeat part of my library, F1 Pro is a preferred choice.
It is helpful to think of an IEM as a filter that highlights or subdues different parts of the incoming audio signal. This effect can be measured objectively by the squiggly lines above, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Subjectivity is how your ears and brain interpret the effect of that filter on your music and decide whether it is “enjoyable.” There are some “rules of thumb” when it comes to tonality, but most interesting IEMs usually bend the rules masterfully.
The tonal balance of F1 Pro suggests that it does not fall far from the Harman root. The measurements confirm the observation.
Similarly to most Harman-inspired IEMs that sound good, F1 Pro fills in the dip around 250Hz of the Harman target to prevent the bass from being disconnected from the rest of frequencies and avoid the thin tonality of “true” Harman IEMs. Unlikely the recently reviewed Simgot EM6L, F1 Pro also reduces the energy around the 3kHz and 5kHz region from the Harman target, trading vocal clarity for a more comfortable and less harsh presentation.
Interestingly, when these characteristics are combined, we have a tonal balance almost identical to the AFUL Performer5 (P5). Almost.
Where F1 Pro deviates significantly from the Harman target and P5 is the substantial boost in the mid-treble region between 6kHz and 8kHz. This 5dB difference is significant enough to necessitate a few minutes of adjustment whenever I switch from F1 Pro to P5. This peak also gives a sharp edge to the presentation of F1 Pro that does not exist with P5. The perception of the crisp transient response of F1 Pro likely stems from this treble peak. You can add an 8kHz peak on your IEM using EQ software and check the result.
Resolution is a fascinating subject due to the difficulty of pinning down what it really is. To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure above). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Smooth and well extended treble response plays a crucial role.
As I alluded to in the subjective impressions, F1 Pro has good resolution. The question is, “How good?”
To answer this question, I compare F1 Pro against Moondrop Blessing 2 and Campfire Audio Andromeda 2020, the two IEMs serving as benchmarks for good (3/5) and great (4/5) resolution. For this test, I would listen to G.O.A.T. by Polyphia.
The listening tests were straightforward but no less surprising. Despite having noticeably more emphasis on the attack edge of all musical notes, F1 Pro does not offer stronger clarity or separation than Blessing 2. At the same time, the nuances and details of all instruments and the background ambience of F1 Pro noticeably suffer in direct comparison against the Andromeda.
Based on this result, I would consider the resolution of F1 Pro to be “Good.” Still, the way F1 Pro renders transients makes it seem more impressive than the other two without direct comparison. Thus, I wouldn’t bat an eye if you find the resolution of F1 Pro to be rather great.
Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. Some IEMs present a wide but flat soundstage. Some present a “3D” soundstage with layering, depth, and height. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)
Where does F1 Pro sit on the “IEGems soundstage imaging scale”? To answer this question, I again relied on the Blessing 2 (3/5) and Andromeda 2020 (4/5). I listened to “The Way of the Ghost” from Ghost of Tsushima soundtracks for this test.
The comparison between Blessing 2 and F1 Pro was straightforward. Right off the bat, it was clear that F1 Pro conveys more sense of depth, meaning the contrast between closer and further away sounds in the soundtrack was more noticeable with F1 Pro than with Blessing 2. On the other hand, Blessing 2 sounds slightly broader and more open. I find the extra depth of F1 Pro’s stage works better with the hazy and moody presentation of the soundtrack.
The comparison between F1 Pro and Andromeda 2020 was more complicated. The major challenge was the significant difference in tonal balance between these IEMs, necessitating more time for “brain burn-in” between switches. The difference was easier to identify and articulate when I got that dialled in. Simply put, the closer sounds are placed closer, the further sounds are pushed further away, and there are more layers between near and far with Andromeda. These factors together create a unique presentation that works well with the test track in a way that F1 Pro does not.
Based on these observations, I would consider the soundstage imaging of F1 Pro to be between “Good” and “Great”.
Soundstage imaging with games (CS GO Gameplay by Throneful): F1 Pro does a better job at imaging in FPS games than I expected. Whilst the stage is not spherical, F1 Pro does not sound like a flat plane with only left-to-right positioning. As a result, it was easy to identify and track the position of gunshots and footsteps as they moved around me.
AFUL Performer5:
In many ways, F1 Pro reminds me of the Hifiman Sundara headphone. Both are entertaining due to the snappy transient response. Neither are the optimal choice for acoustic and vocal music due to the slightly unnatural timbre. Still, I find F1 Pro to be a surprisingly competent and entertaining IEM, especially for more upbeat parts of my library. If you are looking to an IEM with full-range planar magnetic drivers, F1 Pro receives a recommendation from this reviewer.
Absolute Sonic Quality Rating: 3.5/5 (Tonality: 3/5; Resolution: 3/5; Imaging: 3/5; Bass and Dynamic: 5/5)
Bias Score: 4/5 - I like this IEM
Value Proposition: Top of the 3.5/5 class (calculated at the retail price of $99 ~ AUD$150 at the time this review was written)
Updated: January 3, 2024
Forewords
- What I look for in an IEM is immersion. I want to feel the orchestra around me, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it does not get in the way of immersion.
- I rate IEMs within with a consistent scale from 1 (poor) to 3 (Adequate) to 5 (outstanding). Ratings are assigned by A/B tests against benchmark IEMs, regardless of the retail price.
- Ranking list and measurement database are on my IEM review blog.
- Terms used in my reviews are consistent with the glossary by Headphonesty
- This review is based on a review sample from NiceHck (Thank you!). I have no affiliation with or financial interest in NiceHck.
- The unit retails for $99 at the time this review was published. Unaffiliated link
Packaging and Accessories
Whilst I have bought many cables from NiceHck, F1 Pro was the my first IEM from this manufacturer. I was pleasantly surprised by the simple yet elegant design of the packaging and the provided accessories. Inside the box, you would find three types of ear tips, all of which can introduce noticeable changes to the sound signature of the IEM, particularly in the treble and bass region. I highly recommend that you try all of the provided tips to find the ones that best suits your ear anatomy and sonic preference.
The stock cable was also well designed. The chrome plated hardware fits the overall aesthetic of F1 Pro well. I am particularly happy that the 2-pin connectors sit flush against the ear pieces. Not many stock cables provide this flushed fit, even when they come from manufactures well known for cable making. The wires themselves are mostly well-behaved. Subjective Experience ===
As usual, our discussion of subjective experience starts with fit and comfort. Luckily, this section will be short: F1 Pro is simply “average.” The nozzles have average width and length that comfortably fit most ear tips besides the narrower ones like Final Type E. As a result, the F1 Pro does not create pressure hot spots within the ear canals in long listening sessions. The part of the earpieces resting against the ears is circular in shape without any edge or contour, so F1 Pro does not stress the outer ears. Moreover, you can tweak the angle of the nozzles by twisting the earpieces forward or backwards.
Due to the shape of the F1 Pro, your fit and comfort would depend almost entirely on your choice of ear tips. I found F1 Pro respond well to changing ear tips. To my ears, the bass of F1 Pro becomes thicker and more punchy, with the stock ear tips having a dense core and wide opening. Ear tips with softer cores, like the SpinFit CP100, reduce the perceived “density” of the bass. Moreover, longer ear tips like these CP100 can lengthen the distance between the earpieces and your eardrums, which creates the illusion that the soundstage is more spread out. As usual, every choice is a trade-off you must experiment with and decide for yourself. I opt for CP100 in medium size for the rest of this review.
Now, let’s talk about how F1 Pro sounds.
The overall theme of the sonic performance of F1 Pro can be summarised as “entertaining.” This IEM excels at reproducing percussive instruments such as drums and pianos with clear note attacks. Fingerstyle guitar tracks also sound great. These instruments play to the strength of F1 Pro, which combines having a decent amount of bass and the ability to rapidly reproduce volume swings (transients).
For example, the bass line in the iconic soundtrack of Persona 4, “Heartbeat, Heartbreak”, is ever so satisfying with F1 Pro. Every beat has a crisp attack edge and pleasing physical impact above “neutral” without overpowering the rest of the frequencies. As a result of the tonal balance, the F1 Pro does not sound closed off and congested, a problem that some bass-heavy IEMs can face.
At the same time, the decay end of the bass note is rich in texture and details. In particular, the decay of the bass sounds like “brrrrm” rather than “ummmm”. If I pay attention, I can also pick out the pitch of the bass notes rather than simply low-pitched rumbles.
GOAT by Polyphia is another piece that plays well with the strength of F1 Pro. This complex piece has everything: all sorts of percussive sounds layering upon each other, big bass drops, and the sense of ambience and distance created by the outermost background layer of the mix. F1 Pro can handle the complexity easily and stands up to critical listening well. In fact, it performs the instrument definition and separation so well that I needed to stop my listening session to bring out the “big guns” for comparison. We will discuss the result of such a comparison later in this review. The only aspect I dock points from F1 Pro is the soundstage imaging. It does not spread the instruments out and push the background far enough to create a holographic sensation in sections such as around the 1:10 mark.
Another area where F1 Pro loses ground is the handling of flowing, legato instruments and musical passages. Similarly to a few other planar IEMs I have tested, F1 Pro still has that ever-so-slightly edginess midrange and metallic timbre that does not stand up to critical listening.
For example, let’s listen to “Can’t Help Falling in Love” by Pentatonix in their PTX Vol. IV album. On the plus side, F1 Pro does an outstanding job at separating and layering, ensuring that every vocal line has clarity and clear separation from others. On the other hand, no matter how I try, I cannot convince myself to enjoy the vocals due to the ever-so-slightly cold and stiff reproduction. It’s not a tuning problem. When I swapped Effect Audio Gaea, an IEM notorious for having a bright and lean tonality, I found an extra layer of richness that makes the vocals sound “full.” Interestingly, I found F1 Pro to be more sibilant than the notorious Gaea in this track.
As another example, I listened to the Goldberg Variations transcription for Violin, Viola, and Cello performed by Julian Rachlin, Nobuko Imai, and Mischa Maisky. Again, whilst F1 Pro does not colour the instruments incorrectly in any way, that intangible metallic timbre prevents the strings from being truly enjoyable.
To be clear, these observations do not mean that F1 Pro is incompatible with vocals and acoustic music. It is perfectly alright, though I would not actively pick F1 Pro for this part of my library. For the more upbeat part of my library, F1 Pro is a preferred choice.
Frequency Response Analysis
Frequency response of F1 Pro against AFUL P5 the Harman in-ear target. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Visit my graph database for more comparisons.
It is helpful to think of an IEM as a filter that highlights or subdues different parts of the incoming audio signal. This effect can be measured objectively by the squiggly lines above, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Subjectivity is how your ears and brain interpret the effect of that filter on your music and decide whether it is “enjoyable.” There are some “rules of thumb” when it comes to tonality, but most interesting IEMs usually bend the rules masterfully.
The tonal balance of F1 Pro suggests that it does not fall far from the Harman root. The measurements confirm the observation.
Similarly to most Harman-inspired IEMs that sound good, F1 Pro fills in the dip around 250Hz of the Harman target to prevent the bass from being disconnected from the rest of frequencies and avoid the thin tonality of “true” Harman IEMs. Unlikely the recently reviewed Simgot EM6L, F1 Pro also reduces the energy around the 3kHz and 5kHz region from the Harman target, trading vocal clarity for a more comfortable and less harsh presentation.
Interestingly, when these characteristics are combined, we have a tonal balance almost identical to the AFUL Performer5 (P5). Almost.
Where F1 Pro deviates significantly from the Harman target and P5 is the substantial boost in the mid-treble region between 6kHz and 8kHz. This 5dB difference is significant enough to necessitate a few minutes of adjustment whenever I switch from F1 Pro to P5. This peak also gives a sharp edge to the presentation of F1 Pro that does not exist with P5. The perception of the crisp transient response of F1 Pro likely stems from this treble peak. You can add an 8kHz peak on your IEM using EQ software and check the result.
Resolution
Resolution is a fascinating subject due to the difficulty of pinning down what it really is. To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure above). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Smooth and well extended treble response plays a crucial role.
As I alluded to in the subjective impressions, F1 Pro has good resolution. The question is, “How good?”
To answer this question, I compare F1 Pro against Moondrop Blessing 2 and Campfire Audio Andromeda 2020, the two IEMs serving as benchmarks for good (3/5) and great (4/5) resolution. For this test, I would listen to G.O.A.T. by Polyphia.
The listening tests were straightforward but no less surprising. Despite having noticeably more emphasis on the attack edge of all musical notes, F1 Pro does not offer stronger clarity or separation than Blessing 2. At the same time, the nuances and details of all instruments and the background ambience of F1 Pro noticeably suffer in direct comparison against the Andromeda.
Based on this result, I would consider the resolution of F1 Pro to be “Good.” Still, the way F1 Pro renders transients makes it seem more impressive than the other two without direct comparison. Thus, I wouldn’t bat an eye if you find the resolution of F1 Pro to be rather great.
Soundstage Imaging
Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. Some IEMs present a wide but flat soundstage. Some present a “3D” soundstage with layering, depth, and height. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)
Where does F1 Pro sit on the “IEGems soundstage imaging scale”? To answer this question, I again relied on the Blessing 2 (3/5) and Andromeda 2020 (4/5). I listened to “The Way of the Ghost” from Ghost of Tsushima soundtracks for this test.
The comparison between Blessing 2 and F1 Pro was straightforward. Right off the bat, it was clear that F1 Pro conveys more sense of depth, meaning the contrast between closer and further away sounds in the soundtrack was more noticeable with F1 Pro than with Blessing 2. On the other hand, Blessing 2 sounds slightly broader and more open. I find the extra depth of F1 Pro’s stage works better with the hazy and moody presentation of the soundtrack.
The comparison between F1 Pro and Andromeda 2020 was more complicated. The major challenge was the significant difference in tonal balance between these IEMs, necessitating more time for “brain burn-in” between switches. The difference was easier to identify and articulate when I got that dialled in. Simply put, the closer sounds are placed closer, the further sounds are pushed further away, and there are more layers between near and far with Andromeda. These factors together create a unique presentation that works well with the test track in a way that F1 Pro does not.
Based on these observations, I would consider the soundstage imaging of F1 Pro to be between “Good” and “Great”.
Soundstage imaging with games (CS GO Gameplay by Throneful): F1 Pro does a better job at imaging in FPS games than I expected. Whilst the stage is not spherical, F1 Pro does not sound like a flat plane with only left-to-right positioning. As a result, it was easy to identify and track the position of gunshots and footsteps as they moved around me.
Comparisons
AFUL Performer5:
- In back-to-back A/B tests, I found the midrange of F1 Pro to sound thinner, more open and spread out than the midrange of P5.
- The bass of P5 is thicker and more gooey. On the other hand, the bass of F1 Pro sounds “tighter” because it has crisper attack edge.
- The resolution and stage of F1 Pro and P5 are practically identical.
- The metallic timbre of F1 Pro’s midrange does not exist with MagicOne.
- The near-to-far positioning of MagicOne is noticeably stronger than F1 Pro.
- The resolution of MagicOne and F1 Pro are practically identical.
- The bass response of F1 Pro is more entertaining due to the snappy transient response.
- The midrange of EM6L sounds more focused. Instruments have stronger clarity and more space between them.
- The bass of F1 Pro is stronger. As a result, F1 Pro presents music with more “muscle” and rumble.
- EM6L has a slight edge in micro details. F1 Pro, on the other hand, has an upper hand in the perceived clarity and separation.
- Again, the transient response of F1 Pro makes it more entertaining.
- S12 sounds noticeably brighter, thinner, and harsher in the upper frequencies than F1 Pro
- Both have great transient response, but I would give an edge to F1 Pro
- Possibly due to the tuning, F1 Pro has better stage depth than S12, thus creating a more 3D presentation.
Rating and Conclusion
In many ways, F1 Pro reminds me of the Hifiman Sundara headphone. Both are entertaining due to the snappy transient response. Neither are the optimal choice for acoustic and vocal music due to the slightly unnatural timbre. Still, I find F1 Pro to be a surprisingly competent and entertaining IEM, especially for more upbeat parts of my library. If you are looking to an IEM with full-range planar magnetic drivers, F1 Pro receives a recommendation from this reviewer.
Absolute Sonic Quality Rating: 3.5/5 (Tonality: 3/5; Resolution: 3/5; Imaging: 3/5; Bass and Dynamic: 5/5)
Bias Score: 4/5 - I like this IEM
Value Proposition: Top of the 3.5/5 class (calculated at the retail price of $99 ~ AUD$150 at the time this review was written)
Updated: January 3, 2024
o0genesis0o
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NiceHCK F1 Pro
Redcarmoose Labs January 3nd, 2024
To tell you the truth having the F1 Pro around has worn out my camera. There are way too many photos in this review……too many to count. As the look of the F1 Pro ended inspiring……almost like having a supermodel over for the weekend……..click, click….click…..a drink of water……click, click click. Here at Redcarmoose Labs we don’t often get supermodels dropping by for photos………so I guess the NiceHCK F1 Pro will have to do….it actually sounds nice too.
In this review I compare the NiceHCK Cyan to the regular cable. This (package deal) Cyan upgrade cable is NiceHCK’s way of offering two cables at a discounted price.
Anyways……there was the original NiceHCK F1 which had the same size driver, but this Pro edition offers an upgraded driver, plus the regular F1 included nozzle changes to offer different sonic signatures. Now it looks like NiceHCK is offering cables as a way to adjust the signature to your liking. And….yes, there really was a noticeable change, if this is simply cable impedance so be it, but both cables are truly very different than what I have seen with IEMs of this price point.
To start of both the Cyan and the regular included cable offer an upgraded look, and sound, simply the 2Pins and the cable jacket material, the cable splitter and chin-cinch additives. This is kinda how it works with cable manufactures which also offer IEMs. As a manufacture, due to not having to go out and buy a nice cable to go along with your IEM, you are able to get an upgraded cable (to your customer) at wholesale, passing on that value.
Cables:
I’m not going to spend too much time on this subject, except I do cable reviews all the time. I’m a cable believer, so much so that before I started to write this review I used the Cyan cable on a handful of IEMs. Yep, this is what happens when a manufacture (NiceHCK) goes ahead and offers you a 4.4mm cable, you start to use it on other manufactures IEMs……in which they only offered 3.5mm. So in many ways the Cyan (blue) cable here has a personal story and relationship. And sure enough the Cyan did its magic trick with other IEMs same as the F1 Pro. What it does is offer an expanded stage, bigger than the included cable, and adds a hint of warmth to kinda smooth out the peaks in treble and upper midrange. For me anyway this was found as unique because normally a wider stage will take place with more silver additive over copper, yet here we were gaining smoothness and a wider stage. The cable though is slightly strange in that it has a furry coat…………..now in regular use it is fine, but this extra fur showed up in photos. Yet as a whole both cables offered great ergonomics…….note how all four 2Pins are color coded…..why doesn’t everyone do that?
All are Planar IEMs in the below photo.....but don't whine, 2 are square planar IEMs and two are Hybrids.
Comparisons:
Comparisons are important as if you were in the market and choosing fruit or vegetables you would grab them and hold them in your hand. You can tell that some fruit is better quality than others. That quality may partially be subjective, but part of the quality is not. Meaning some like soft avocados and some like firm avocados. Yet when you get that one avocado that is the cat’s meow………it goes and somehow gains ground on the other avocados…….to become special. Such character is actually quantifiable and able to be listed as qualities……..beyond preference and beyond subjectivity. This often happens because the sound is more real. It’s hard to argue with that one! Of my two photos here one is the three IEMs we will use to compare the F1 Pro, and another photograph, the one with nine different IEMs is simply showing the hierarchy used to arrive at our test group. If you find your IEM as one of the other eight included, don’t take offense as that my personal choice in the end. Obviously as this is really only my personal battle of IEMs, there still is that element of subjectivity included.
Top row TANGZU Zetian Wu Planar IEM and Kiwi ears Melody Planar IEM
Bottom row NiceHCK F1 Pro
TANGZU Zetian Wu
https://www.head-fi.org/showcase/th...ar-in-ear-monitors.26114/reviews#review-29383
The TANGZU ZETIAN WU unexpectedly became my favorite. And for good reason, as its $149.00 14.5mm Planar driver just seemed to promote my style of response. A V shape response which holding to Planar attributes offered a faster bass replay than comparable DDs, or ever Hybrids for that matter. The tone was warm and yet still dynamic. Coming out around September of 2022 the WU ended the Planar to beat…..that was until the Kiwi ears Melody came along.
https://www.head-fi.org/showcase/kiwi-ears-melody.26754/reviews#review-32218
Kiwi Ears Melody:
Just last November I reviewed the Kiwi ears Melody and found it to offer amazing vocals and low-end authority. In fact the Kiwi ears Melody jumped ahead of all the other Planar I tested and found itself holding a spot right next to the ZETIAN WU in Redcarmoose’s history of Planar IEMs. Maybe it is the forwardness that is its secret weapon against past IEMs like the LETSHUOER S12 PRO? You see it’s not just forwardness here, it is also bigness, bringing to life the music at hand…..so much so that I don’t need to test out the LETSHUOER S12 PRO again, I already did that numerous times. As once again this is not a question of preference.
So……shall we begin?
Now I know why everybody is talking about this F1 Pro, yep…….while surprisingly the Wu offered a deep bass additive, there was a noticeable exaggerated treble/midrange energy that I didn’t remember the WU as having. Don’t get me wrong, as I actually love the WU, keeping the WU in her case and not commingling with the peasants. To try and make this clear as day, the Kiwi ears Melody had it’s forward and big displays of imaging, only strangely the F1 Pro was even more forward and offered a (bigger) soundstage which travels even farther outside my head. Where the Medley had bass texture, the F1 Pro had both clearer bass and it was found somehow more together and polite? What this means is the F1 Pro was simply offering a bigger stage and inside that stage was every musical element displayed as it should be, with no Pinna Gain sizzle or heat. There was gorgeous big and fluid bass that outstretched into another realm, an unexpected realm into the stage. Such displays of general quality and detail depth went and truly put the pants on the Melody. The Melody takes slightly more juice to get going than the F1 Pro, but going back and forth between these three over and over again, there is a truly common sound held in many ways making each one the same. Yet the F1 Pro is bigger and possibly more involving due to that size? The F1 Pro is ever so slightly more vibrant and real also showcasing a little more detail in how the stage is spread-out. It’s the fact that the F1 Pro doesn’t have that much of a vocal push as what the Melody is trying to accomplish, that instead we are greeted with a slightly more balanced display……and that balance goes to proclaim slightly more visibility in places…….yet there is this warm smooth lower midrange that is endearing too. That there are spacial properties to this F1 sage where the lower midrange has a finesse to it? In a way that finesse is soft and inviting…….this is what I hear. Yet the WU has a charm all it own, yet that charm is also needing of slightly more juice. In some ways the WU still comes out ahead with imaging? Yet finally in the end I figured out what the biggest difference between the three (timbre)……..really they sound very close to the same as there is speculation one company makes these planer drivers……that is is how they are encapsulated that makes the differences here. But while the WU offers the lower tone of timbre, the Kiwi ears Melody offers the higher aspect inside of each instrument……..and guess where the F1 Pro lands………..can you guess? That’s right, Goldilocks Land…..right dab in the middle timbre wise! It may be that the timbre replay of the F1 Pro gives a more relaxing feeling while listening……..I mean maybe, maybe not, but there was this unexplainable inviting tone which the F1 Pro did all the time, and I tried but could not put my finger on how or why…………………
Though despite these abilities (sure) there is a noticeable difference, yet I’m not so sure if you already had one of the prior two, that getting the new F1 Pro IEM would be that much of a different deal? The crazy part was the contrasts between the the WU having the midrange/treble boost (in that area) but also going with the lowest overall timbre?
Timbre:
What is it? This is the character (inside) of a musical instrument or sung vocals which enable a listener to distinguish (apart) a sound of exactly the same frequency. To address this here, BA drivers often have a distinguishable metallic tinge, Planar divers too at times will not replay perfect timbre, with other factors such as speed of the bass and layering causing people to own them. And finally single full-range DDs ofter probably the best timbre if we were keeping score. Yet none of these methodologies are perfect, what an enthusiast can do is find out though experience which way they want to go, as Hybrids are my favorite way to make IEM music. Yet believe it or not the industry is always making-up new ideas, better ideas to work on any specific one drawback of a methodology and improve that aspect. Where first impressions with the F1 Pro had me say the timbre was really really good, to later on another day and another listening session find the timbre to be slightly off. And that’s how perception of timbre is, no matter who you are. As when put into a challenge the F1 Pro it turns-out generates the best timbre out of the three. Now the biggest part of this timbre judgment is actually the source material. Meaning it is the song you choose which enables your specific judgment of timbre, and maybe as some guess, this has to do with known acoustic instruments sounding real, or not?
Build:
Showing a very different aspect (to me) of a build idea. At just 6 grams the F1 Pro is nether heavy or light weight. And I found the nozzles to be only a fraction short to allow me to use my favorite ear-tips. I mean sure they give you 12 sets of included ear tips……and I have them near by here to try. And I did find the yellow centered included silicone to fit fine, yet the nozzle opening is lesser circumference, hence lesser stage than what I normally use. Though a wild-card tip that seemed to work really well for me was the TANGZU DIVINUS VELVET ear-tips? Such ear-tips had that length that I wasn’t getting with my preferred tips, which makes up for the F1 Pro’s (ever so slightly) short nozzle length. And the VELVETS do this funny dispersion thing which add air to the treble…….really this phenomena works with a number of IEMs…too. NiceCHK has gone forward to include a set of 3 Sony EP-EX11 clones. These are virtually indistinguishable from the real Sony’s and promote extra bass if wanted.
Sony MDR-Z1R with Fibonacci Grill
Shape:
Such build factor comes off really close to perfect in that maybe the F1 Pro could be viewed as middle size? While it is chunky, it is not overly big as seen in all the side-by-side photos above. And I can think of a few IEMs off hand that have utilized this “barrel” shape idea, namely DUNU with the ZEN and TRN with the TA1 Max…there are more. But this encasement is probably aluminum and holds back and subdues any unwanted vibrations from the second generation 14.2mm Planar Diaphragm. But often we need to judge an IEM shape in the long term, I mean does it stay in place? And that’s why the Velvets were even better than the Sony EP-EX11 clones………And why they say fit is everything……because if your not getting good fit, you really don’t know how an IEM sounds. The cable guides also help in this regard. Yet once in place, the F1 Pro stays in place, surprising when you consider how different they look? There are two vents, one facing your ear and the other near the 2Pin as see in photos. They are basically two piece with a Fibonacci Grill to finish off the nozzle ends.
Music tests:
KMFDM
PARADISE
Oh My Goth
44.1 kHz - 24 bit
Here is the deal, there are a bunch of IEMs (out there) for sale right now. Ones with maybe better timbre and ones that maybe do the vocals in a slightly better light? Yet where the F1 Pro hits home, where your hard earned dollar bills go into action is with the fast bass dexterity here. Bass notes are getting in and getting out, plus there are layers of detail that is pretty hard for any other driver type to compete at this price. It’s this slam held into actual note visualization, they (the notes) are clear and separated into layers. There is a nice bump to this whole song, in just the way it rocks. Now while all this is going on it still doesn’t have that pin-point detail like some Hybrid in this price-point have…….but due to the bottom-end fireworks we forgive such drawbacks. It’s the fast pace here that is floating our boat……..and taking us out to sea! That in-fact stuff is getting in, then getting out-of-the-way just as fast. That and the sonic transients that just won’t stop. These transients are e-v-e-r-y-w-h-e-r-e!
Here Lucia Cifarelli’s vocals are just right.....meaning there is a place for them which isn’t out front and not behind either. To where the vocals are simply correct, but not forward. There is a character too with the guitar where you can hear really fast how the bass tone (notes) follow the exact same note as the guitar, that there is this relationship which takes place, this interaction which comes off sublime. The Planar idea of sound reproduction is very apropos for fast/complicated rock. I mean, that’s why people buy them, if you were wondering.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1 kHz - 24 bit
This song is one of favorites to judge timbre. That and there is a way about it that the song Brotherhood which sounds special on a wide variety of IEMs. So why not use it as it is both a tool and a joy. It is recorded well, offering to showcase many IEMs strengths, and at times weaknesses.
The first thing I notice is the size of display. Now with my schedule I’m hearing this song many times a week, and taking it apart into IEM attributes and deficits. And the outcome of such ear-time is I start to get even closer to the music, I am able to start to perceive even deeper into playback ideas and explain them to you. So while my first ideas were to judge timbre, we are long past that idea. Why? The pure size of this song has a very sincere way of distracting you. And folks if you ever wanted to know the very best thing an IEM can do……….that is not on the list of musical attributes like Bass, Treble, Timbre…….it’s distraction, to be inside the song. To forget your laundry list of stuff to do…….that's living, and what IEM listening is all about.
What another paragraph talking about the size of display, already? What? Well kids it’s this immersive quality that everyone is after, and maybe I have hit the mark of mental burn-in with the F1 Pro, maybe a further connection with the music here, but I’m inside the zone. Such examples maybe take place due to evenness of playback? That it is all here, where nothing is causing a disruption, to disrupt our distraction from taking place.
Timbre:
This is my Timbre song. As such the piano is the first clue as to how we are getting along, and of course I used this song in my first impressions of the F1 Pro. And really while there is a hint of planar timbre, it’s not bad, not bad at all……..to almost having you guess there is none…..and that my friends is where we want to be.
Probably the most fun here is the separation, separation and layering that was made for planar IEMs. The next level is when the midrange synth hits at 00:42. This fact is taking place not only due to the midrange synth wash, except it is the actual contrasts to the bass…..again the layers that are taking this song apart, and showcasing the musicality found present. I never get tired of hearing this song, into many forms of playback, but I also notice that the complex bass replay here is making everything much more of a treat.
Lorne Balfe and Andrew Kawczynski
Grand Turismo OST
Academy Race
44.1 kHz - 24 bit
Laughably, this song is suppose to win-out over the last song due to size of replay, being the last song was primarily direct to board synth with (said) orchestral additives. When Academy Race is the real-deal, a full on Orchestra recorded in all of its size to showcase the grandeur held in replay. Such grandeur can maybe help with the epic emotions found in cinema, the larger than life aspect of cinema. Where the last song Brotherhood was in support for a video game as to not distract a person driving an imaginary car around an imaginary race track, and trying not to get into an imaginary racing accident, so you can meet the imaginary females at the end, and receive an imaginary trophy.
Here though the very first thing we notice is the stand-up bass and cello action. Just letting us know, that this song is not messing around. The low end here is authoritative and full, basically emotional is the best word I can come up with? Part of that ability comes from speed. There is a transient response factor here. Such a component of replay means subtle bass notes can be introduced (even as an accent) and become showcased due to their inherent detail. Transients are detail in the time domain, getting in and getting out just as fast, to enable the highlight of detail, but more than that, to proclaim their space into the imaging.
At 03:03 we come upon a question of timbre? Meaning there are these super high up and fast moving rhythm elements, a lot of ruckus is the metallic rhythm section, and it does have me wonder how close to life such percussive sounds are replayed? Such sounds can also be found falling back into the mix, where they almost blend in once more. Timbre is connected to just how out front sounds in a song can be.
Delain
Apocalypse & Chill
Chemical Redemption
44.1 kHz - 24 bit
Oh, gosh, so here is maybe the timbre test song. Truly I don’t know exactly how this is going to work out, as this is a song I don’t always listen to, due to being an extreme example of how to do a musical mix down. Here is Symphonic Metal with a Charlotte Wessels fronted sound that also goes with this buzz-saw guitar. Many IEMs can boost this found frequency or diminish it to where it doesn’t sound correct. Two IEM ways of interpreting the sound, and of course there are a multitude of ideas out there, just as there are a multitude of different IEMs to hear the song with. Plus I’m game to reveal that there isn’t always simply a right or wrong way, that there many levels of right and wrong, with some ways being just a little right and some (ways) way perfect. Also I wasn’t there when the producers were dialing the sound in. I mean sure, I have a guess as to when this sounds correct, but it is anyones guess as to how it sounded during mix down? Here we are witnessing an out of the ordinary song which will do two very important things…..one of course it will show how the F1 Pro does the guitar, but also it is very important to know how the upper-end of treble and midrange are interpreted, as we already know the bass (busy) actions and (complex) drums will be well defined, we can guess that…….but there is a lot going on here…..and it is a good song to use.
Wild as this is probably one of the ways that’s close to what they heard in the studio as far as guitar tone, still there is no denying this tone in completely out of the ordinary, except if your into Symphonic Female Fronted Metal, then you probably listen to this first thing in the morning.
At 00:24 Charlotte Wessels takes a well deserved breath (probably overdubbed) and begins her vocal additives. And I must say, these are exactly the balance I feel the producers wanted as far as where the vocal placement is. They are out-front but still blend with how the song can be heard, right in place. Such a number goes ahead and proclaims a myriad of details……the cymbal strikes etc….etc. It isn’t till the middle of 01:11 that this song kicks into gear, and shows us a broad sounding anthem of a break……one that if you aren’t feeling the music........at no other time later on will you feel the music either. Yep, it’s sink or swim for how this calculated, detailed and complex piece of music is performed. Yet right along with all the bumps and grooves we find the F1 Pro simply keeping up, and better than only keeping up, the F1 Pro is making this memorable. At 01:15 the music starts to sway and Charlotte Wessels sings….the word physical…that’s when we realize that this song is going to places yet uncharted, to a romantic place, full of entertainment and surprises!
Package:
Conclusion:
Well there you have it folks, my first NiceHCK review. And to tell you the truth the F1 Pro was a surprise. And while sure I did first impressions and they were great, but then I set the F1 Pro on the burn-in rack for a week and became inundated with more sound making devices. Yet back in my mind were still those first impressions……making a statement. Then I did something else, I pulled out the NiceHCK Cyan cable and started mixing it with all kinds of IEMs, in fact as the F1 Pro was doing its burn-in I had a week to play around with this peculiar cable. I learned how the Cyan first worked with the F1 Pro, and of course that extra lower authority is a pleasant additive………..but what if it could do the same thing for other IEMs, and increase soundstage girth and size? And sure enough the effects were real and repeatable. I could almost do a complete review separately of this Cyan Cable, as there is story there. Yet NiceHCK said it was fine just to included the Cyan review with this F1Pro review. And in fact if you didn’t want the Cyan cable and you are attracted to a cleaner and faster replay, in so many ways the included cable is all you need. There is nothing cheap of value sounding about the included cable, maybe I didn’t give it enough love here, but it is fully a nice addition by itself, and far nicer than almost all cables that come with IEMs at the $99.99 price point. Simply sturdy and ergonomic, and remember some may like the included cable best, as that’s how subjective this whole hobby is. That NiceHCK is going an offering a cable that totally works, but offering the Cyan Cable to those that want their F1 Pro to own a smoother sound contained in a wider stage!
To summarize this review….the F1 Pro was my most enjoyable Planar IEM to date. And since April of 2022, I have heard my fair share of them. Get yours today……oh, and to me they look even better in real life, than in photographs?
https://id.aliexpress.com/item/1005006228604236.html
$99.00 with the included cable and at times there is also a package deal to get both the F1Pro and Cyan cable.
Disclaimer:
I want to thank Vivian at NiceHCK for the F1 Pro review sample.
I want to thank Vivian at NiceHCK for the Cyan Cable review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
HiBy R3 II DAP in 4.4mm balanced
Samsung Phone 3.5mm output
Update:
The NiceHCK F1 Pro is now (finally available) on Amazon for those that want it.
https://www.amazon.com/dp/B0CSW8D8JG
Redcarmoose
F1 Pro $98.99
NICEHCK F1 Pro:
https://www.aliexpress.com/item/1005006228604236.html?spm=a2g0o.store_pc_home.slider_2005873823683.1
NICEHCK F1 Pro:
https://www.aliexpress.com/item/1005006228604236.html?spm=a2g0o.store_pc_home.slider_2005873823683.1
That reminds me, I should try the F1 Pro with Class A of the R6 Pro 2 before sending the DAP back. Should be fun.