NiceHCK F1
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NiceHCK F1
NiceHCKs new F1 is a planar diaphragm driver IEM utilizing an all metal aluminum alloy shell in a familiar circular drum design with a new 14.2mm planar diaphragm. NiceHCK is a company that designs only a handful of new IEMs during the year and believe it or not this is not their first Planar IEM they have made. They made a tribrid IEM called the F3 almost 4 years ago which used a planar driver for its mids. Unfortunately that IEM was not the best tuned but clearly had potential.
Fast forward to today and planar IEMs are seeing a resurgence like never before. Everyone is getting on board with the Planar IEMs and so it was only a matter of time before NiceHCK went back to the drawing board to create a pure planar IEM in the new F1.
I appreciate that the new F1 incorporates a new housing, a new design with a new tuning which NiceHCK has tried to maximize the ability of using a highly resolving planar driver. Not only did they achieve a nicely balanced set in the F1 but also threw in 2 other nozzle screw on cap filters to change up the nozzle effectively enhancing or decreasing the upper mid pinna gain. This effectively gives the buyer 3 distinctive choices to how you would like to hear the F1.
The gold cap in an open cap with no filter which gives the most clarity, treble detail and upper mids emphasis out of the other caps with a good 12dbs of emphasis. The gold cap is a bit forward for its presence and might fatigue folks that are sensitive to a lot of upper mids emphasis. Causes a tonal shift to be a touch bright in presentation. Certainly listenable and will be better suited more so for classical and or orchestral scores vs the other caps.
The silver cap is what was installed out of the box. The goldilocks of upper mids emphasis being roughly 8dbs; these are just right with how much upper mids make the tonality more natural and neutral sounding vs being bright and or warm. The bulk of my review was done using the silver caps. The great aspect of the F1 is that these caps do have a clear effect on their sound presentation. Taking one step further you can experiment to get somewhere in between these caps by for example using the prior gold caps and then using a pure copper cable to offset the brightness a bit getting you somewhere in between the silver and the gold caps. Not to mention how your tips will also affect how they sound. The F1 is an excellent test bed for all sorts of sound adjustments based on how you want to hear the F1. Caps, cables, tips experimentation is highly encouraged.
The black caps tilt the sound balancing of the F1 to be more bassier, fuller lower mids with a warmer tonality due to the very minor upper mids emphasis at roughly 3dbs in the 2.2Khz region. This brings a more L shaped tuning where bass takes precedence above the rest of the tuning. Bass is the focus of this cap but gives an added benefit for some added warmth influenced by the lower frequency tilt for male vocals. This cap is actually the closest I have heard NiceHCK do a western type tuning balance. The bass end gets some extra emphasis but is not at a basshead level, still moderate for bass but has the most bass out of the 3 caps. Will mention more of their performance in the bass descriptor.
With that I would like to thank NiceHCK for providing a review sample of the F1 for the purpose of a review. They have been burned in for a period of a week's time and are now ready for evaluation using my sources. Fiio K9pro ESS, IBasso DX300Max, Fiio M15, Shanling M6 pro, IBasso DX160, Fiio BTR7, IFI Gryphon, IFI Signature for amping. You can read more about their F1 on their sales pages on Aliexpress here.
What you get.
The F1s, a well matching silver plated OCC cable, my sample in 4.4mm balanced. 3 different tuning nozzle cap filters, 2 sets of silicone tips and NiceHCKs all blue box case. The stuff you get here is fairly standard with nothing that really stands out. I do know however that while the included cable is decent. NiceHCK themselves seem to be selling some extra cables when ordering the F1s. This means they feel these upgraded cables enhance the sound of the F1.
I actually agree with their assessment. While I didn't get one of the cables they are selling with the F1. I have tried a few of my own and the F1 actually scales to better higher end cables meaning as good as they sound out of the box. Better cables enhance their tonal and technical characteristics to a greater degree. Cable rolling is really a subjective aspect of getting the best out of your IEMs. In the case of the F1. It is most definitely worth experimenting with your other cables.
Sound
The F1 has a familiar higher technical ability that underlies their sound quality. Its sound quality is a well balanced, slight v shaped in tuning with very good body of note, better than the two planars I was comparing it to.( comparo on bottom of reader), shows ample detail and imaging capabilities. The planar magnetic IEM driver has a certain tonal and timbral character that is associated with the material it is using to drive the sound out of the F1 nozzles. I associate its tonal qualities and technical ability somewhere between the BA in technicalities and some aspects of the dynamic driver. Not as rigid as a BA but not as forgiving as a dynamic either. Somewhere in between. Their quicker transient qualities makes for a highly detailed speedy tight imaged sound. Known as the planar timbre, the modern day planar IEM is somewhat of an acquired taste and not as natural a sound as I would like. The good news here is that NiceHCK did a fantastic job in making the F1 sound to be not as rigid and chiseled as other sets I have heard at this price point using planar drivers. Their silver cap I feel is the best balanced with the highest well balanced sound quality out of the 3 caps, but it is nice to be given some choices as to how you like your F1 to sound.
Trebles
Of the F1 has a balanced presence and extends well into the brilliance area of the tuning. Planar IEMs in general do a great job covering the high frequencies with no struggle at all. The F1s treble extension is actually exemplary for tunings in general. Trebles are clear, clean and detailed with the right amount of sparkle and air associated with good treble tunings. The caps do affect how much treble the sound is presented with. The black caps have a slight reduction of the trebles vs the other two caps. However even with the black caps, trebles are not neutered and give some presence to the bassy signature.
When I first got into hobby I always was under the impression that the Planar driver excelled for their bass presentations but at least for IEMs in my opinion, it is actually the trebles that excel. I have yet to hear a planar IEM that can’t hit a treble note with any type of struggle. Add to the fact that they have a relatively quick snappy decay for music notes and that just bodes well for a clean treble presentation and details associated with the trebles. Trebles on the F1 are some of the best I have heard from NiceHCK with very good control, crisp tight clean and sparkly when called upon. The Trebles of the F1 has an excellent combination of ability and detail that makes the F1 sound complete with true versatility for all types of music.
Mids
Of the F1 is also influenced by the cap you choose to use. Can have a bit of warmth to its tonal qualities due to the extra bass and lower mid emphasis with the black cap. Sounds the most natural and balanced with the silver caps. Sounds a touch brighter and more technical with the gold cap. Using the silver cap the mids sound clean with just a smidge of warmth to give it a natural tonal character and once again brings the middle ground of balance, tonality and presence for the mids.
The mids of the F1 has a clean and natural tonal character that benefits from the planar driver it is using. The surprising aspect of the F1 is that its mids presentation has a solid body of note to not make it sound analytical and not anywhere close to sounding aggressive. Though some might have issues with the gold caps as it does make the upper mids a bit more forward and slightly aggressive sounding. This is the main reason why I prefer the silver caps the most.
Its presentation has a foundational tight planar ability that brings a cleanly imaged mids presence. Its tight sound gives credence to a technical foundation that is definitely above average at this price range. But what makes the F1 stand out a bit to me is that other planar based IEMs have a tendency to sound a bit thin for note weight. Not so much the F1. The excellent tonal balance and presence for the mids does extremely well for both instruments and vocal music. Mids using the silver cap is a strong suite for the F1 and for the price point, a complete mids presentation that clearly shows it has versatility. The mids of the F1 is really a stand out. Some of the best mids presentations I have heard from a NiceHCK product.
Listening to the F1 and going back and forth from the various caps NiceHCK provides with the F1. I can clearly tell they did a very good job of actually tuning the F1 to be adjustable based on the caps that are attached. Each one has benefits and some negatives but the silver one has the least negatives out of the cap group. Its presence of a natural tonal quality with a very good technical ability, ample note weight, stage, imaging details, tight transients and sound separation gives a proper mids for the F1.
Bass
Bass of the F1 compliments and balances the overall presentation of the F1. Bass is surprisingly capable and here is where some of that planar bass characteristics of a quicker decay comes in. It certainly can hit any bass note but it doesn’t have the best texture or definition for bass notes. Mid bass is fast, tight and accurate but it is its subbass which is surprisingly deep but at the same time does not have the texture of a well vented dynamic. The capable moderate bass end shows good versatility and is speedy. No bloat but with the black caps the bass end does seem to encroach a touch on the lower mids. It is not egregious but the bass end does seem to have more of it with the black caps. Bigger bass with a slight warmer tilt to the tonality is what the black caps offer.
Once again the silver caps not only controls the bass end to a better extent but is also properly balanced with the mids and its treble to bring a more complete well rounded sound experience vs being focused on just one aspect of its sound. Bass fans might want to dabble a bit with the black caps, tips and cables to find out what works for you but it is interesting that the filter for the black bass caps reduces the upper mids to now have more of an L shape tuning where bass is the focus. Not the tightest presentation but certainly more in the line of a funner version of the F1.
Bass quality could be better here but it is certainly not bad given the price point. They are comparable in many ways to its competition which I will do some comparisons for the review.
The F1 bass end is better suited for natural instrumental bass vs synthetic. Synthetic bass notes tonal qualities are generally good but are not the most defined or textured as mentioned above. Slightly bloated even with the black caps. Bass notes from drums sound more natural and the F1s ability to have quick transitions for faster complex music allows the bass note to be very complimentary and even excel for something like speed metal. Bass is always featured for NiceHCK sound tunings and overall bass at this price level is good for a planar IEM but it is more a limitation of the planar driver more so than the tuning it seems.
Overall
The F1 is actually very enjoyable to listen to as it clearly shows versatility for all types of music. Even more so than the average IEM due to the effective use of the tuning nozzle. It can go from slightly brighter, more technical to a warm and bassy with a change up on the nozzle. Tuning nozzles are nothing new in the IEM world but in the F1 they are clearly effective and not just a gimmick. I have yet to really dive into possible cable and tip pairings that would maximize each nozzle cap to full capacity but just know that with some limited aftermarket cable pairings I have tried on the F1. They can sound even better than how I am describing them to be with this review. I was very surprised with the F1s as it is by far NiceHCKs best offering this year and arguably just as good as their flagship dynamic offering the Top guy from last year. If you thought planar based IEMs lack naturalness and fullness of note. The F1 bucks that trend with a musical balanced tuning that are very enjoyable to listen to. NiceHCK did a great job at maximizing the Planar driver for the F1 to sound not so rigid yet clearly versatile. In that regard the F1 is a success.
Comparisons. Comparable planar IEMs I have on hand are the Letshueor S12pro and the Dunu Talos. Both IEMs being highly regarded for their given sound performances at their prices.
As currently constructed the S12 pro is slightly cheaper than F1 with the Talos being the most expensive out of the group priced at $200.
First up is against the S12 pro.
S12 pro has a reputation for having some very good technicalities and is a bit more v shaped in its tuning vs the F1. Right away going back and forth from the F1 and the S12pro. The S12 pro leans a touch more analytical in its presentation and lacks the slight warmth and note weight that the F1 exhibits for its mids and vocals presentation. S12 pro sounds more rigid in its presentation, a touch dryer in tonality and lacks the musicality and fullness that the F1 exhibits. What is interesting here is I can make the F1 sound a bit like the S12 pro with the gold treble enhancing caps. But even then the mids sound more laid back in the balancing on the S12 pro. F1 also has the better stage with a deeper sound presentation vs the S12 pros more intimate stage. Bass ends of these two share some similarities in ability, tonality and impact. They both seem to have roughly similar emphasis for the bass ends but the main differences are for their trebles and the mids. S12 takes a step back for its mids balancing and is a bit forward for its lower treble emphasis. While I find the bass emphasis in the balancing comparable it is the F1 that sounds a bit more rounded for its bass presentation. The F1 stage is more moderate vs the intimate stage of the S12 pro. Another con for the S12 pro is that their smaller short nozzle shell is finicky for my ears when it comes to tip selections. The F1 has more easier fitting shape and is much more versatile due to having the 3 filter nozzle with the base silver nozzle having much better balancing for its tuning.
Vs the Dunu Talos. The Talos shares a similar housing style vs the F1 but that is about the only real similarities vs the F1.
The Talos has easily the widest stage presentation out of the 3 IEMs but it also has to do with its relative neutral tuning vs the other two IEMs. Talos has a bit more laid back presentation and has the cleanest sound presentation out of the 3 IEM. The stage for the Talos is a bit more sideways oval shaped, wider than deep. The F1 stage presentation is a bit more circular as it seems to have greater depth and fullness of note easily over the other two IEMs.
What is interesting about these 3 IEMS is that they all have Planar timbre, speed and all sound nicely resolving however the S12 pro sounds the most rigid out of the 3. The Talos being the most neutral out of the 3 sounds the most resolving but actually has the stage to back up all the detail aspects for its tuning, sounds the most “high end,”. The F1 presentation is a bit less rigid due to it having the warmest tonal character out of the 3. All 3 IEMs have good treble presence with the Talos showing the most extension. The S12 having the most emphasis and the F1 being in the middle ground. Talos shows a broader mids presentation but it is the F1 that sounds a bit more dimensional due to it having more note weight and fullness and greater depth to its sound. The bass ends while the Talos is more focused in the sub bass the F1 has more mid bass and has just as much sub bass emphasis. Quality wise I would give it up to the Talos over the F1.
F1 is actually the most musical and natural sounding planar out of the 3 while the Talos is the most neutral. If you thought the S12 or the pro sound presentation needs a bit of a musical make over I would take a good look at the NiceHCK F1. Or if you own the Talos and feel it lacks a touch of dynamism, mid bass and needed some greater depth that is actually what the F1 does better than the Talos. It is a toss up between the Talos and the S12pro for details but balance and presentation wise the Talos is definitely has the better higher end tuning out of the two. The F1 being somewhere in the middle. Thanks for taking the time to read.
NiceHCKs new F1 is a planar diaphragm driver IEM utilizing an all metal aluminum alloy shell in a familiar circular drum design with a new 14.2mm planar diaphragm. NiceHCK is a company that designs only a handful of new IEMs during the year and believe it or not this is not their first Planar IEM they have made. They made a tribrid IEM called the F3 almost 4 years ago which used a planar driver for its mids. Unfortunately that IEM was not the best tuned but clearly had potential.
Fast forward to today and planar IEMs are seeing a resurgence like never before. Everyone is getting on board with the Planar IEMs and so it was only a matter of time before NiceHCK went back to the drawing board to create a pure planar IEM in the new F1.
I appreciate that the new F1 incorporates a new housing, a new design with a new tuning which NiceHCK has tried to maximize the ability of using a highly resolving planar driver. Not only did they achieve a nicely balanced set in the F1 but also threw in 2 other nozzle screw on cap filters to change up the nozzle effectively enhancing or decreasing the upper mid pinna gain. This effectively gives the buyer 3 distinctive choices to how you would like to hear the F1.
The gold cap in an open cap with no filter which gives the most clarity, treble detail and upper mids emphasis out of the other caps with a good 12dbs of emphasis. The gold cap is a bit forward for its presence and might fatigue folks that are sensitive to a lot of upper mids emphasis. Causes a tonal shift to be a touch bright in presentation. Certainly listenable and will be better suited more so for classical and or orchestral scores vs the other caps.
The silver cap is what was installed out of the box. The goldilocks of upper mids emphasis being roughly 8dbs; these are just right with how much upper mids make the tonality more natural and neutral sounding vs being bright and or warm. The bulk of my review was done using the silver caps. The great aspect of the F1 is that these caps do have a clear effect on their sound presentation. Taking one step further you can experiment to get somewhere in between these caps by for example using the prior gold caps and then using a pure copper cable to offset the brightness a bit getting you somewhere in between the silver and the gold caps. Not to mention how your tips will also affect how they sound. The F1 is an excellent test bed for all sorts of sound adjustments based on how you want to hear the F1. Caps, cables, tips experimentation is highly encouraged.
The black caps tilt the sound balancing of the F1 to be more bassier, fuller lower mids with a warmer tonality due to the very minor upper mids emphasis at roughly 3dbs in the 2.2Khz region. This brings a more L shaped tuning where bass takes precedence above the rest of the tuning. Bass is the focus of this cap but gives an added benefit for some added warmth influenced by the lower frequency tilt for male vocals. This cap is actually the closest I have heard NiceHCK do a western type tuning balance. The bass end gets some extra emphasis but is not at a basshead level, still moderate for bass but has the most bass out of the 3 caps. Will mention more of their performance in the bass descriptor.
With that I would like to thank NiceHCK for providing a review sample of the F1 for the purpose of a review. They have been burned in for a period of a week's time and are now ready for evaluation using my sources. Fiio K9pro ESS, IBasso DX300Max, Fiio M15, Shanling M6 pro, IBasso DX160, Fiio BTR7, IFI Gryphon, IFI Signature for amping. You can read more about their F1 on their sales pages on Aliexpress here.
What you get.
The F1s, a well matching silver plated OCC cable, my sample in 4.4mm balanced. 3 different tuning nozzle cap filters, 2 sets of silicone tips and NiceHCKs all blue box case. The stuff you get here is fairly standard with nothing that really stands out. I do know however that while the included cable is decent. NiceHCK themselves seem to be selling some extra cables when ordering the F1s. This means they feel these upgraded cables enhance the sound of the F1.
I actually agree with their assessment. While I didn't get one of the cables they are selling with the F1. I have tried a few of my own and the F1 actually scales to better higher end cables meaning as good as they sound out of the box. Better cables enhance their tonal and technical characteristics to a greater degree. Cable rolling is really a subjective aspect of getting the best out of your IEMs. In the case of the F1. It is most definitely worth experimenting with your other cables.
Sound
The F1 has a familiar higher technical ability that underlies their sound quality. Its sound quality is a well balanced, slight v shaped in tuning with very good body of note, better than the two planars I was comparing it to.( comparo on bottom of reader), shows ample detail and imaging capabilities. The planar magnetic IEM driver has a certain tonal and timbral character that is associated with the material it is using to drive the sound out of the F1 nozzles. I associate its tonal qualities and technical ability somewhere between the BA in technicalities and some aspects of the dynamic driver. Not as rigid as a BA but not as forgiving as a dynamic either. Somewhere in between. Their quicker transient qualities makes for a highly detailed speedy tight imaged sound. Known as the planar timbre, the modern day planar IEM is somewhat of an acquired taste and not as natural a sound as I would like. The good news here is that NiceHCK did a fantastic job in making the F1 sound to be not as rigid and chiseled as other sets I have heard at this price point using planar drivers. Their silver cap I feel is the best balanced with the highest well balanced sound quality out of the 3 caps, but it is nice to be given some choices as to how you like your F1 to sound.
Trebles
Of the F1 has a balanced presence and extends well into the brilliance area of the tuning. Planar IEMs in general do a great job covering the high frequencies with no struggle at all. The F1s treble extension is actually exemplary for tunings in general. Trebles are clear, clean and detailed with the right amount of sparkle and air associated with good treble tunings. The caps do affect how much treble the sound is presented with. The black caps have a slight reduction of the trebles vs the other two caps. However even with the black caps, trebles are not neutered and give some presence to the bassy signature.
When I first got into hobby I always was under the impression that the Planar driver excelled for their bass presentations but at least for IEMs in my opinion, it is actually the trebles that excel. I have yet to hear a planar IEM that can’t hit a treble note with any type of struggle. Add to the fact that they have a relatively quick snappy decay for music notes and that just bodes well for a clean treble presentation and details associated with the trebles. Trebles on the F1 are some of the best I have heard from NiceHCK with very good control, crisp tight clean and sparkly when called upon. The Trebles of the F1 has an excellent combination of ability and detail that makes the F1 sound complete with true versatility for all types of music.
Mids
Of the F1 is also influenced by the cap you choose to use. Can have a bit of warmth to its tonal qualities due to the extra bass and lower mid emphasis with the black cap. Sounds the most natural and balanced with the silver caps. Sounds a touch brighter and more technical with the gold cap. Using the silver cap the mids sound clean with just a smidge of warmth to give it a natural tonal character and once again brings the middle ground of balance, tonality and presence for the mids.
The mids of the F1 has a clean and natural tonal character that benefits from the planar driver it is using. The surprising aspect of the F1 is that its mids presentation has a solid body of note to not make it sound analytical and not anywhere close to sounding aggressive. Though some might have issues with the gold caps as it does make the upper mids a bit more forward and slightly aggressive sounding. This is the main reason why I prefer the silver caps the most.
Its presentation has a foundational tight planar ability that brings a cleanly imaged mids presence. Its tight sound gives credence to a technical foundation that is definitely above average at this price range. But what makes the F1 stand out a bit to me is that other planar based IEMs have a tendency to sound a bit thin for note weight. Not so much the F1. The excellent tonal balance and presence for the mids does extremely well for both instruments and vocal music. Mids using the silver cap is a strong suite for the F1 and for the price point, a complete mids presentation that clearly shows it has versatility. The mids of the F1 is really a stand out. Some of the best mids presentations I have heard from a NiceHCK product.
Listening to the F1 and going back and forth from the various caps NiceHCK provides with the F1. I can clearly tell they did a very good job of actually tuning the F1 to be adjustable based on the caps that are attached. Each one has benefits and some negatives but the silver one has the least negatives out of the cap group. Its presence of a natural tonal quality with a very good technical ability, ample note weight, stage, imaging details, tight transients and sound separation gives a proper mids for the F1.
Bass
Bass of the F1 compliments and balances the overall presentation of the F1. Bass is surprisingly capable and here is where some of that planar bass characteristics of a quicker decay comes in. It certainly can hit any bass note but it doesn’t have the best texture or definition for bass notes. Mid bass is fast, tight and accurate but it is its subbass which is surprisingly deep but at the same time does not have the texture of a well vented dynamic. The capable moderate bass end shows good versatility and is speedy. No bloat but with the black caps the bass end does seem to encroach a touch on the lower mids. It is not egregious but the bass end does seem to have more of it with the black caps. Bigger bass with a slight warmer tilt to the tonality is what the black caps offer.
Once again the silver caps not only controls the bass end to a better extent but is also properly balanced with the mids and its treble to bring a more complete well rounded sound experience vs being focused on just one aspect of its sound. Bass fans might want to dabble a bit with the black caps, tips and cables to find out what works for you but it is interesting that the filter for the black bass caps reduces the upper mids to now have more of an L shape tuning where bass is the focus. Not the tightest presentation but certainly more in the line of a funner version of the F1.
Bass quality could be better here but it is certainly not bad given the price point. They are comparable in many ways to its competition which I will do some comparisons for the review.
The F1 bass end is better suited for natural instrumental bass vs synthetic. Synthetic bass notes tonal qualities are generally good but are not the most defined or textured as mentioned above. Slightly bloated even with the black caps. Bass notes from drums sound more natural and the F1s ability to have quick transitions for faster complex music allows the bass note to be very complimentary and even excel for something like speed metal. Bass is always featured for NiceHCK sound tunings and overall bass at this price level is good for a planar IEM but it is more a limitation of the planar driver more so than the tuning it seems.
Overall
The F1 is actually very enjoyable to listen to as it clearly shows versatility for all types of music. Even more so than the average IEM due to the effective use of the tuning nozzle. It can go from slightly brighter, more technical to a warm and bassy with a change up on the nozzle. Tuning nozzles are nothing new in the IEM world but in the F1 they are clearly effective and not just a gimmick. I have yet to really dive into possible cable and tip pairings that would maximize each nozzle cap to full capacity but just know that with some limited aftermarket cable pairings I have tried on the F1. They can sound even better than how I am describing them to be with this review. I was very surprised with the F1s as it is by far NiceHCKs best offering this year and arguably just as good as their flagship dynamic offering the Top guy from last year. If you thought planar based IEMs lack naturalness and fullness of note. The F1 bucks that trend with a musical balanced tuning that are very enjoyable to listen to. NiceHCK did a great job at maximizing the Planar driver for the F1 to sound not so rigid yet clearly versatile. In that regard the F1 is a success.
Comparisons. Comparable planar IEMs I have on hand are the Letshueor S12pro and the Dunu Talos. Both IEMs being highly regarded for their given sound performances at their prices.
As currently constructed the S12 pro is slightly cheaper than F1 with the Talos being the most expensive out of the group priced at $200.
First up is against the S12 pro.
S12 pro has a reputation for having some very good technicalities and is a bit more v shaped in its tuning vs the F1. Right away going back and forth from the F1 and the S12pro. The S12 pro leans a touch more analytical in its presentation and lacks the slight warmth and note weight that the F1 exhibits for its mids and vocals presentation. S12 pro sounds more rigid in its presentation, a touch dryer in tonality and lacks the musicality and fullness that the F1 exhibits. What is interesting here is I can make the F1 sound a bit like the S12 pro with the gold treble enhancing caps. But even then the mids sound more laid back in the balancing on the S12 pro. F1 also has the better stage with a deeper sound presentation vs the S12 pros more intimate stage. Bass ends of these two share some similarities in ability, tonality and impact. They both seem to have roughly similar emphasis for the bass ends but the main differences are for their trebles and the mids. S12 takes a step back for its mids balancing and is a bit forward for its lower treble emphasis. While I find the bass emphasis in the balancing comparable it is the F1 that sounds a bit more rounded for its bass presentation. The F1 stage is more moderate vs the intimate stage of the S12 pro. Another con for the S12 pro is that their smaller short nozzle shell is finicky for my ears when it comes to tip selections. The F1 has more easier fitting shape and is much more versatile due to having the 3 filter nozzle with the base silver nozzle having much better balancing for its tuning.
Vs the Dunu Talos. The Talos shares a similar housing style vs the F1 but that is about the only real similarities vs the F1.
The Talos has easily the widest stage presentation out of the 3 IEMs but it also has to do with its relative neutral tuning vs the other two IEMs. Talos has a bit more laid back presentation and has the cleanest sound presentation out of the 3 IEM. The stage for the Talos is a bit more sideways oval shaped, wider than deep. The F1 stage presentation is a bit more circular as it seems to have greater depth and fullness of note easily over the other two IEMs.
What is interesting about these 3 IEMS is that they all have Planar timbre, speed and all sound nicely resolving however the S12 pro sounds the most rigid out of the 3. The Talos being the most neutral out of the 3 sounds the most resolving but actually has the stage to back up all the detail aspects for its tuning, sounds the most “high end,”. The F1 presentation is a bit less rigid due to it having the warmest tonal character out of the 3. All 3 IEMs have good treble presence with the Talos showing the most extension. The S12 having the most emphasis and the F1 being in the middle ground. Talos shows a broader mids presentation but it is the F1 that sounds a bit more dimensional due to it having more note weight and fullness and greater depth to its sound. The bass ends while the Talos is more focused in the sub bass the F1 has more mid bass and has just as much sub bass emphasis. Quality wise I would give it up to the Talos over the F1.
F1 is actually the most musical and natural sounding planar out of the 3 while the Talos is the most neutral. If you thought the S12 or the pro sound presentation needs a bit of a musical make over I would take a good look at the NiceHCK F1. Or if you own the Talos and feel it lacks a touch of dynamism, mid bass and needed some greater depth that is actually what the F1 does better than the Talos. It is a toss up between the Talos and the S12pro for details but balance and presentation wise the Talos is definitely has the better higher end tuning out of the two. The F1 being somewhere in the middle. Thanks for taking the time to read.
Introduction
NiceHCK continues to combine the sale of audio products with the creation of its own products. And there are already quite a few home-grown ones. It is not surprising that, following the current trend, they designed IEMS with the most famous type of driver on the market today: of course, we are talking about the NiceHCK F1, an IEMS with a 14.2mm planar driver. Like other brands, NiceHCK wanted to go a bit further and this is shown in their external design, such as the use of nozzles to alter the sound. In terms of design, it is an aluminium alloy capsule, with a carbon fibre outer panel. In terms of filters, the F1s come with three screw-in mouthpieces that allow you to alter the sound in their lower range, as well as in the midrange and upper-midrange. They continue to rely on the 2Pin 0.78mm connection, a good silver-plated cable and an accessory package that is already common in their top-of-the-line IEMS.
On the other hand, from the introduction I have to point out that these IEMS have left a very good taste in my mouth from the moment they arrived, until today. Let's see why.
Specifications
Packaging
NiceHCK sticks to its presentation for mid-high-end models and the packaging shows a white box with a real picture of the capsules in its centre. Its size is 172x127x55mm. At the top left is the brand logo in holographic ink. On the right, the name of the model and a short description. There is an additional description at the bottom of the box. On the back, without being very explicit, are some of the specifications, in Chinese and English. There are also the brand's contact details at the bottom. Once the outer cardboard is removed, a black textured box appears with the logo inscribed in the centre. The box opens like a book and inside a thick layer of foam are the IEMS with its cable and underneath, the classic leather box of the brand, in blue. Inside are the rest of the accessories. In a nutshell:
As I said, the presentation is not very different from other similarly priced models from the brand. But it is an adequate standard. Although I think the tips could do with a bit more novelty and a quirkier alternative, even the classic foam tips would be welcome. The cable is quite soft and the case is to my liking, although somewhat large, it feels quality and more noticeable.
Construction and Design
The capsules are eye-catching, have a good design that could have been superior, with more attractive details. It is a thick cylindrical capsule, which has a thinner cylinder, attached to the edge, where the 2PIN 0.78mm connection is. On the opposite side of the connector there is a blue or red cap to indicate the channel. On the wide edge you can read the brand, the model and the channel cap in white letters. Due to the silver colour of the material, the white is not easily distinguishable. The inner side is rather flat, but it grows slowly towards the nozzle on the rim, close to the connector and almost parallel to the side cylinder. At the other end of the nozzle there is a small hole. The nozzle is very short, less than 4mm. The inner diameter is 5.1mm and the screw-in crown, which acts as a filter, is 6mm. There are three filters, Silver (Balanced), Gold (Mid-High frequency) and Black (Heavy Bass). They have a serrated edge to facilitate the screwing process. The grille has trapezoidal windows with a slight spiral shape and a hole in the middle. The inside of each one is different, there are filters on the Silver and Black mouthpieces, while I don't notice anything on the inside of the Gold filter.
The capsules are constructed from aluminium alloy using 5-axis CNC machining. The outer face has a micro-stepped slope leading to a thick C-shaped carbon fibre flat. In the middle, forming the negative of the C, the brand logo is inscribed in yellow-orange paint. Underneath, an opening towards the inside of the capsule, in the shape of a smile and protected by a grille.
The cable consists of a rather soft double braid. The material is mixed OCC copper with silver plated cores. It is soft, 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 piece is completely smooth and the pin is a metal ring with a rough surface. It has over-ear guides, but they are soft, like the whole cable, which is very mouldable.
I'm not really convinced by the design on the outside. But that's just an aesthetic question. However, the design of such a short mouthpiece has been a concern when it comes to finding the best fitting and sounding tips. Although I doubt I could have found it.
But in conclusion, the construction is good and the cable is nice, although I would have preferred a good copper cable to complement the sound.
Adjustment and Ergonomics
Normally, I always use my homemade foam-filled tips. They are similar to the Symbio Mandarin, but larger, with a wider inner core and a higher foam filling. It would be one size bigger than the Symbio Mandarin L. And that's because my ear canals are wide at the entrance. Well then. With the very short mouthpieces of the F1s it was not possible to find an adequate seal because they did not reach the optimum depth of anchorage. I had to look for many alternatives and it was not easy to find suitable tips. Finally, I have found some very large blue soft silicone tips, with which I have been able to generate a good fit, more durable and occlusive. Although I don't know if I'm getting the best bass sound that these IEMS can offer.
On the other hand, once the fit problems are overcome, the design is comfortable, the cable is nice and manageable, you hardly notice the weight in your ears. The isolation will depend on the tips used. With my choice it is above average.
Sound
Profile
I like the fact that IEMS include tuning options, as is the case with F1s. The point is that, thanks to them, the model in question can appeal to a wider range of buyers. Sometimes filters offer subtle changes in only one part of the frequency range. Other times, they affect several parts and their change is greater. F1s are in the latter case. I think the default filter, the Silver (Balanced) is very good. The black filter adds more bass, lowers the peak at 2kHz a lot, but muddies the sound too much for my taste. The Silver filter offers enviable light, superior to other planar models. Perhaps it might be too much for some, so I would have liked the black filter to be more subtle and not affect the clarity of the whole, nor its level of resolution. The black filter depresses the sound of the F1s, while the Gold filter overly enhances an already bright profile, although tolerable with the Silver filter.
On the other hand, I would like to see the aftermarket go a little deeper into these aspects, designing other filters that add more possibilities to a model that can be very good, even improvable with a few subtle tweaks.
With the Silver filter, the frequency range moves in a gain range of less than 10db up to 10Khz, which is a fairly balanced curve. The bass starts high from the sub-bass and remains linear up to almost 100Hz. The descent into the mids is smooth and the rise into the upper-mids is a little faster. From this point you enter a classic treble plateau that other planars exhibit.
In reality, the F1s with the Silver filter have an even, smooth and balanced frequency response. But they feel brighter than their Letshuoer counterparts. This also makes them sound finer and more explicit with detail. The NiceHCK F1 Silver are among the most detailed planars I've tested so far.
The NiceHCK F1 Gold have a strong resemblance to the TinHiFi P1 MAX, but having the Silver filter, it's clear that the real point is in this profile.
The following review has been completed with the Silver filter.
Bass
The NiceHCK F1s have a classic planar response, with that characteristic sonority and adequate speed. It is not the most sensitive bass, nor does it have the deepest response. But it has good agility and some extension into the mid-bass, something that gives it a good presence, a broad and almost noticeable punch. I find the amount of bass with the Silver filter quite adequate and appropriate so as not to drown out the mids, nor the detail. I still insist that the F1 Silver are brighter, clearer and more detailed than the S12 or S12 Pro and I think the fact that they are relatively flatter and more balanced gives them that advantage. On the other hand, the feeling of a wall of sound is not as pronounced.
The bass behaviour is expressive, they have a good rumble. The fact that they are not the fastest ones gives them a point of roughness and texture that is pleasant and more perceptible, as well as a weight and oscillation that becomes natural and can be impressive. The movement and power is very healthy, can be felt easily, has a ripple that resembles dynamic drivers, giving a feeling of air emission very attractive, capable of generating a good effect Wow! Yes, there is healthy fun to be had in the F1's bass and a good technical level. They are able to withstand pressure and volume with very good dexterity, without distortion and handling the situation smoothly, as is usual for planars. On top of all that, one has to add the abilities of layer generation, stratification, reproduction of complex, hard and unfiltered bass lines, etc. But, in addition to all that, I like its tuning, the level of presence and energy and, above all, the respect for the rest of the range: the mids, the highs and, above all, the details, are never overshadowed with this filter, despite the level of bass achieved. Very good.
Mids
Planar drivers know how to keep things in place: each frequency sounds where it should. Then, the nature of the timbre is another matter. If in the sub-bass notes, planars are not totally natural, in the mids this characteristic is not the case. It is clear that the timbre will be affected by the tuning, as well as by the technology used in the driver. But in this case, the balance of the Silver filter works in its favour. The drop from the lows to the mids is smooth and you don't feel any dip in the midrange. There is a slight distance, just enough so that they don't sound intimate or too close together. In this way, there is more depth and a more realistic scene. But the control does not stop in this first half, but the classic ascent towards the mid-highs is also contained and pleasant. The tuning has stopped at a sweet spot that finds clarity, sparkle, luminosity and presence, but without becoming hot in this climb. All this is offset by an ambivalent feeling of warmth in the first part and this controlled glow of the second. And as usual, balance and a good equilibrium is usually the best thing. The F1s manage to make everything sound in place, with appropriate enhancement, even in great detail. It is very surprising and pleasing to find that the balance ratio is maintained at all frequency stages. Also, it can be observed throughout the whole range of the notes, being perceptible from the base to the highest overtones. It is true that I find that there is a point of brightness in the mids, compared to the S12, and this is something that can be noticed in the sibilance, which is at the limit of overflow. But that is also due to the logical treble enhancement and plateau. And I can't hide the fact that this profile can be more analytical and cooler for these reasons, even because of the high level of resolution and definition of the F1s. NiceHCK has been able to give the sound a more descriptive, precise and detailed capability. In this way, the sound is more concise and separated. With the light as a guide, the layers of detail are easier to detect and perceive, you just have to be attentive and you can find that it is easy to dig into the sound and get beyond layers, voices and instruments, to detect details that were underneath it all. I like them.
Treble
F1s have the canonical plateau of planar drivers. There is no control zone, no roll-off or anything like that. Even the resonance peaks are controlled. With an almost uniform amount up to 10kHz, one can presage an exposed and present first half. But since the enhancement is not too much and balance is still predominant up to that point, the sound is still bright, but controlled. The enhancement is there, but it doesn't feel piercing, or penetrating. It's not a sparkle, it's a medium energy level that can wear on an average session, if we're sensitive to this band. The F1s are not crisp at first glance. As I say, the level of sparkle and light is felt from the start, but the treble is more like a long-distance run, it's all about maintaining a level and the F1s manage to do that. The negative point may be in the more limited air area, something that can detract from a volatile or three-dimensional feel.
Soundstage, Separation
In this case, the planar sound is not as compact or as if it were a wall of sound. It is true that the sensation of balance in all frequencies allows the perception of all of them, as if it were a flat response, but with the classic dose of energy of the planars. This sensation always limits the depth of the music and a more airy, gaseous, volatile and expansive exposition. But, as I say, in this case, the fact that the F1s are finer, more analytical, separated and resolute, detracts from their density and gives them a higher level of transparency. The scene is still an oval without much depth, but with great laterality and stereo feel, as well as adequate layering, even with good height. The image feels enhanced by the expressive detail in the different layers of the sound. There is a good sense of separation and it all feeds back to make the detail more perceptible and the distance between notes clearer, even the background more visible. This is how I find the scene and the positioning of the elements more discernible and perspicuous than other planars. But I still feel that the scene is wide, frontal and without much three-dimensionality.
Comparisons
Letshuoer S12 PRO
I'm going to cheat a bit and take advantage of previous IEMS comparisons that I have recently reviewed. The first case is the Pro version of the S12, a very famous planar IEMS that has received a slight tweak. For this comparison I used the Silver nozzle on the NiceHCK F1s.
You could say that from 200Hz to 1.5kHz, both FRs are the same, so there seems to be some commonality in these drivers. Although the F1's FR is flatter, I find its profile is brighter. While there is a warm neutrality and noticeable bass punch in the S12 PROs, the F1s are lighter overall, but also more defined, precise, cooler and more analytical.
There is a clear superior bass punch in the S12 PROs, as well as greater depth. Whereas the F1s are more restrained and with a thinner bass, with less punch. Technically very good and with a more detailed expression, the F1s do not have anaemic bass, far from it, but I do notice a little more colour, more finesse, less density and physicality. The S12 PROs have a wider, bigger and heavier bass range, which tends to take up more space.
In the mid-range the S12s feel more neutral, but also a little warmer. That sense of naturalness and attachment predominates. While the F1s show more luminosity, transparency, but less body as well. They are lighter, more volatile, cooler and more expansive. I find more separation and freedom in the F1s, as well as a higher degree of resolution. There is also more joy in the F1s, despite being cooler, the notes are more sparkling, the sound is more crisp, even though the FR comparison seems to have a less energetic treble. Everything is less punchy, but there is also more separation, a more gaseous and volatile sound, also more delicate and analytical. In addition, they offer a larger stage feeling. If someone thinks the S12s are brilliant, I don't recommend the Gold and Silver filters of the F1s. But you could definitely use the Black filter.
The F1s don't offer that clear wall-of-sound feel that the S12 PROs do, but they can also feel a bit more muffled.
On the physical side, I've had trouble finding suitable tips for the F1s, their mouthpiece isn't very long and perhaps the orientation isn't quite right. They weigh less though. But I prefer the more occlusive and perfect fit of the S12 PROs.
Currently, the S12 PRO are cheaper than the NiceHCK F1, but there can always be price changes and offers on both models.
BQEYZ Winter
The Winter are not planar, they are hybrids with a dynamic driver and a PZT Bone Conduction driver.
The price of the BQEYZ is above 200$ and the F1 below 200$, there can be a difference of 50 to 80$ between them, depending on the offers.
In terms of design they are very different. The Winter follow their trend in terms of the shape of the capsules and NiceHCK change the model with a design reminiscent of the Letshuoer D13, but with shorter mouthpieces. Everyone has a say in which design they like best, in terms of appearance. But for ergonomic reasons, I prefer the Winter. The short nozzles of the F1, as I have already mentioned, have given me a headache when it came to finding tips that could extract their full potential. I don't even think I've been able to find them. With the more classic form of the Winter I have had no problems. The Winter comes with slightly more accessories and a better cable. Both cases are very good. The F1 tips are a bit generic. But there is also a price difference to consider.
As far as sound is concerned, my surprise has been in a quick change from one to the other. Compared to the F1, the Winter sounds more muted, perhaps it would be more appropriate to say warm, analogue and organic. Everything is brighter and shinier with the F1. There is a more striking, explicit and direct expressiveness with the NiceHCK planars. But the bass level seems almost the same, despite the visible differences in both frequency responses. Maybe it's because the sealing with the F1 is not as good as with the Winter. I think that the tips I use are not the most suitable to get the best presence in the low end of the F1s. In this aspect, I don't miss anything with the Winter. The Winter has a low end that reminds me of the planars, in terms of speed and behaviour. But they improve their less coloured and less realistic sonority compared to the F1s, which is noticeable when playing pure low-frequency tones. The result is a more sensory bass, with more air movement in the BQEYZs. Otherwise, in technical matters, the similarities are great and the differences lie more in the higher amount of sub-bass in the F1s, which provide a slightly more powerful and punchy feel and a little more depth.
In the mid-range there is a point of higher density in the F1 planars. There is also a more frontal sound and a wall-of-sound sensation, although it is not as pronounced. The Winter's volatility creates a more hollow, yet expansive feel, which also thins out the sense of physicality and body, both in vocals and instrumentation. The mid-range presentation is more explicit on the F1s, with a homogeneity throughout. Whereas on the Winter there is a more natural and organic flow. In the F1s everything is exposition, in the Winters there are sensations, a movement of voices and instruments. In the F1s the perception is of a more static sound, closer, nearer... that wall I talk about so much. There is nothing wrong with either of them, but each one must value the informative, frontal and expressive presentation of the F1s, instead of the more traditional, more moving exposition of the Winters.
In the treble, despite the Winter's high level, the F1s feel more elevated, with a higher level of energy. Not for nothing do they present a vast plateau all the way to the air zone. The Winter's control zone, though small, balances this feeling. The generation of a full and homogeneous sound in terms of energy is maintained in all ranges of the F1s. The Winters provide a breath in every range and feel more suitable for extended use. The F1s are so explicit that they can become saturated and the presence of the high end has an impact on this. The detail is more explosive, more so than the Winter. That's why I still value the good performance of the BC driver over a planar driver excited in the high end.
When it comes to stage, the Winter's are more three-dimensional, volatile and gassy. They don't have much depth, the separation is more circular. The F1s are wider and more frontal, not that they are very deep either. But the feeling of their vast sound offers a wide, generous soundstage with good laterality and height. The Winters win in spatial recreation and in their ability to project sound from more angles. The physical feel of the F1s projects an image that is easier to locate, where elements are more fixed to the scene and more distinguishable. The Winters are more vaporous in this respect, offering a more diluted reconstruction.
Conclusion
NiceHCK joins the planar fever and presents its new F1 model. The driver is a 14.2mm magnetic planar (of course), with a 2µm diaphragm, silver alloy voice coil, N55 magnets and double-sided magnetic circuit. As seems to be the norm, each planar model is usually quite different in design from the rest, and NiceHCK has made an effort in this regard. The only downside is that the nozzles are a little short and this can make it difficult to fit with proper tips. On the other hand, it is marked by the addition of three pairs of filters to tune the sound to your own taste. But for me, the reference filter is enough. But I would rather say excellent. The NiceHCK F1s, with the Silver filter, have achieved a very balanced sound that moves away from the wall-of-sound feeling a bit, to achieve a superior balance in all three bands. Each band has a stellar representation and thanks to the planar technology, each band can be enjoyed separately. Moreover, thanks to this homogeneity, the level of detail is more explicit, the sound is clearer, more descriptive, more analytical, more transparent, more defined and more resolute. It will undoubtedly be a breath of fresh air for those looking for a cooler sound, with greater resolution and analytical capability. The F1s are all that and more, because their filters allow you to change faces for the same price. I congratulate NiceHCK, because they have managed to do a great job with this new model, surprising in the battle of the planars, with a very accurate reference tuning.
Sources Used During the Analysis
Ratings
Purchase Link
You can read the full review in Spanish here
NiceHCK continues to combine the sale of audio products with the creation of its own products. And there are already quite a few home-grown ones. It is not surprising that, following the current trend, they designed IEMS with the most famous type of driver on the market today: of course, we are talking about the NiceHCK F1, an IEMS with a 14.2mm planar driver. Like other brands, NiceHCK wanted to go a bit further and this is shown in their external design, such as the use of nozzles to alter the sound. In terms of design, it is an aluminium alloy capsule, with a carbon fibre outer panel. In terms of filters, the F1s come with three screw-in mouthpieces that allow you to alter the sound in their lower range, as well as in the midrange and upper-midrange. They continue to rely on the 2Pin 0.78mm connection, a good silver-plated cable and an accessory package that is already common in their top-of-the-line IEMS.
On the other hand, from the introduction I have to point out that these IEMS have left a very good taste in my mouth from the moment they arrived, until today. Let's see why.
Specifications
- Driver Type: 14.2mm magnetic planar driver with 2µm diaphragm, silver alloy voice coil, N55 magnets and double-sided magnetic circuit.
- Frequency Response: 20-28kHz.
- Sensitivity: Gold Filter 101dB/mW. Silver Filter 100dB/mW. Black Filter 98dB/mW.
- Impedance: 15Ω
- Capsule material: Aluminium alloy.
- Outer panel: Carbon fibre.
- Jack Connector: Choice of 3.5mm SE or 4.4mm BAL.
- Capsule Connection Type: 0.78mm 2Pin.
Packaging
NiceHCK sticks to its presentation for mid-high-end models and the packaging shows a white box with a real picture of the capsules in its centre. Its size is 172x127x55mm. At the top left is the brand logo in holographic ink. On the right, the name of the model and a short description. There is an additional description at the bottom of the box. On the back, without being very explicit, are some of the specifications, in Chinese and English. There are also the brand's contact details at the bottom. Once the outer cardboard is removed, a black textured box appears with the logo inscribed in the centre. The box opens like a book and inside a thick layer of foam are the IEMS with its cable and underneath, the classic leather box of the brand, in blue. Inside are the rest of the accessories. In a nutshell:
- The two NiceHCK F1 capsules.
- One OCC-silver-plated mixed cable, with 4.4mm balanced connector.
- 4 pairs of white silicone tips, sizes SxMxLxLxXL
- 4 pairs of black silicone tips, sizes SxMxLxLxXL
- One branded velcro strap.
- One blue leatherette case.
- 3 pairs of filter tips (Silver, Gold, Black). The Silver mouthpieces are fitted in the IEMS.
- User's guide.
- Inspection certificate.
As I said, the presentation is not very different from other similarly priced models from the brand. But it is an adequate standard. Although I think the tips could do with a bit more novelty and a quirkier alternative, even the classic foam tips would be welcome. The cable is quite soft and the case is to my liking, although somewhat large, it feels quality and more noticeable.
Construction and Design
The capsules are eye-catching, have a good design that could have been superior, with more attractive details. It is a thick cylindrical capsule, which has a thinner cylinder, attached to the edge, where the 2PIN 0.78mm connection is. On the opposite side of the connector there is a blue or red cap to indicate the channel. On the wide edge you can read the brand, the model and the channel cap in white letters. Due to the silver colour of the material, the white is not easily distinguishable. The inner side is rather flat, but it grows slowly towards the nozzle on the rim, close to the connector and almost parallel to the side cylinder. At the other end of the nozzle there is a small hole. The nozzle is very short, less than 4mm. The inner diameter is 5.1mm and the screw-in crown, which acts as a filter, is 6mm. There are three filters, Silver (Balanced), Gold (Mid-High frequency) and Black (Heavy Bass). They have a serrated edge to facilitate the screwing process. The grille has trapezoidal windows with a slight spiral shape and a hole in the middle. The inside of each one is different, there are filters on the Silver and Black mouthpieces, while I don't notice anything on the inside of the Gold filter.
The capsules are constructed from aluminium alloy using 5-axis CNC machining. The outer face has a micro-stepped slope leading to a thick C-shaped carbon fibre flat. In the middle, forming the negative of the C, the brand logo is inscribed in yellow-orange paint. Underneath, an opening towards the inside of the capsule, in the shape of a smile and protected by a grille.
The cable consists of a rather soft double braid. The material is mixed OCC copper with silver plated cores. It is soft, 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 piece is completely smooth and the pin is a metal ring with a rough surface. It has over-ear guides, but they are soft, like the whole cable, which is very mouldable.
I'm not really convinced by the design on the outside. But that's just an aesthetic question. However, the design of such a short mouthpiece has been a concern when it comes to finding the best fitting and sounding tips. Although I doubt I could have found it.
But in conclusion, the construction is good and the cable is nice, although I would have preferred a good copper cable to complement the sound.
Adjustment and Ergonomics
Normally, I always use my homemade foam-filled tips. They are similar to the Symbio Mandarin, but larger, with a wider inner core and a higher foam filling. It would be one size bigger than the Symbio Mandarin L. And that's because my ear canals are wide at the entrance. Well then. With the very short mouthpieces of the F1s it was not possible to find an adequate seal because they did not reach the optimum depth of anchorage. I had to look for many alternatives and it was not easy to find suitable tips. Finally, I have found some very large blue soft silicone tips, with which I have been able to generate a good fit, more durable and occlusive. Although I don't know if I'm getting the best bass sound that these IEMS can offer.
On the other hand, once the fit problems are overcome, the design is comfortable, the cable is nice and manageable, you hardly notice the weight in your ears. The isolation will depend on the tips used. With my choice it is above average.
Sound
Profile
I like the fact that IEMS include tuning options, as is the case with F1s. The point is that, thanks to them, the model in question can appeal to a wider range of buyers. Sometimes filters offer subtle changes in only one part of the frequency range. Other times, they affect several parts and their change is greater. F1s are in the latter case. I think the default filter, the Silver (Balanced) is very good. The black filter adds more bass, lowers the peak at 2kHz a lot, but muddies the sound too much for my taste. The Silver filter offers enviable light, superior to other planar models. Perhaps it might be too much for some, so I would have liked the black filter to be more subtle and not affect the clarity of the whole, nor its level of resolution. The black filter depresses the sound of the F1s, while the Gold filter overly enhances an already bright profile, although tolerable with the Silver filter.
On the other hand, I would like to see the aftermarket go a little deeper into these aspects, designing other filters that add more possibilities to a model that can be very good, even improvable with a few subtle tweaks.
With the Silver filter, the frequency range moves in a gain range of less than 10db up to 10Khz, which is a fairly balanced curve. The bass starts high from the sub-bass and remains linear up to almost 100Hz. The descent into the mids is smooth and the rise into the upper-mids is a little faster. From this point you enter a classic treble plateau that other planars exhibit.
In reality, the F1s with the Silver filter have an even, smooth and balanced frequency response. But they feel brighter than their Letshuoer counterparts. This also makes them sound finer and more explicit with detail. The NiceHCK F1 Silver are among the most detailed planars I've tested so far.
The NiceHCK F1 Gold have a strong resemblance to the TinHiFi P1 MAX, but having the Silver filter, it's clear that the real point is in this profile.
The following review has been completed with the Silver filter.
Bass
The NiceHCK F1s have a classic planar response, with that characteristic sonority and adequate speed. It is not the most sensitive bass, nor does it have the deepest response. But it has good agility and some extension into the mid-bass, something that gives it a good presence, a broad and almost noticeable punch. I find the amount of bass with the Silver filter quite adequate and appropriate so as not to drown out the mids, nor the detail. I still insist that the F1 Silver are brighter, clearer and more detailed than the S12 or S12 Pro and I think the fact that they are relatively flatter and more balanced gives them that advantage. On the other hand, the feeling of a wall of sound is not as pronounced.
The bass behaviour is expressive, they have a good rumble. The fact that they are not the fastest ones gives them a point of roughness and texture that is pleasant and more perceptible, as well as a weight and oscillation that becomes natural and can be impressive. The movement and power is very healthy, can be felt easily, has a ripple that resembles dynamic drivers, giving a feeling of air emission very attractive, capable of generating a good effect Wow! Yes, there is healthy fun to be had in the F1's bass and a good technical level. They are able to withstand pressure and volume with very good dexterity, without distortion and handling the situation smoothly, as is usual for planars. On top of all that, one has to add the abilities of layer generation, stratification, reproduction of complex, hard and unfiltered bass lines, etc. But, in addition to all that, I like its tuning, the level of presence and energy and, above all, the respect for the rest of the range: the mids, the highs and, above all, the details, are never overshadowed with this filter, despite the level of bass achieved. Very good.
Mids
Planar drivers know how to keep things in place: each frequency sounds where it should. Then, the nature of the timbre is another matter. If in the sub-bass notes, planars are not totally natural, in the mids this characteristic is not the case. It is clear that the timbre will be affected by the tuning, as well as by the technology used in the driver. But in this case, the balance of the Silver filter works in its favour. The drop from the lows to the mids is smooth and you don't feel any dip in the midrange. There is a slight distance, just enough so that they don't sound intimate or too close together. In this way, there is more depth and a more realistic scene. But the control does not stop in this first half, but the classic ascent towards the mid-highs is also contained and pleasant. The tuning has stopped at a sweet spot that finds clarity, sparkle, luminosity and presence, but without becoming hot in this climb. All this is offset by an ambivalent feeling of warmth in the first part and this controlled glow of the second. And as usual, balance and a good equilibrium is usually the best thing. The F1s manage to make everything sound in place, with appropriate enhancement, even in great detail. It is very surprising and pleasing to find that the balance ratio is maintained at all frequency stages. Also, it can be observed throughout the whole range of the notes, being perceptible from the base to the highest overtones. It is true that I find that there is a point of brightness in the mids, compared to the S12, and this is something that can be noticed in the sibilance, which is at the limit of overflow. But that is also due to the logical treble enhancement and plateau. And I can't hide the fact that this profile can be more analytical and cooler for these reasons, even because of the high level of resolution and definition of the F1s. NiceHCK has been able to give the sound a more descriptive, precise and detailed capability. In this way, the sound is more concise and separated. With the light as a guide, the layers of detail are easier to detect and perceive, you just have to be attentive and you can find that it is easy to dig into the sound and get beyond layers, voices and instruments, to detect details that were underneath it all. I like them.
Treble
F1s have the canonical plateau of planar drivers. There is no control zone, no roll-off or anything like that. Even the resonance peaks are controlled. With an almost uniform amount up to 10kHz, one can presage an exposed and present first half. But since the enhancement is not too much and balance is still predominant up to that point, the sound is still bright, but controlled. The enhancement is there, but it doesn't feel piercing, or penetrating. It's not a sparkle, it's a medium energy level that can wear on an average session, if we're sensitive to this band. The F1s are not crisp at first glance. As I say, the level of sparkle and light is felt from the start, but the treble is more like a long-distance run, it's all about maintaining a level and the F1s manage to do that. The negative point may be in the more limited air area, something that can detract from a volatile or three-dimensional feel.
Soundstage, Separation
In this case, the planar sound is not as compact or as if it were a wall of sound. It is true that the sensation of balance in all frequencies allows the perception of all of them, as if it were a flat response, but with the classic dose of energy of the planars. This sensation always limits the depth of the music and a more airy, gaseous, volatile and expansive exposition. But, as I say, in this case, the fact that the F1s are finer, more analytical, separated and resolute, detracts from their density and gives them a higher level of transparency. The scene is still an oval without much depth, but with great laterality and stereo feel, as well as adequate layering, even with good height. The image feels enhanced by the expressive detail in the different layers of the sound. There is a good sense of separation and it all feeds back to make the detail more perceptible and the distance between notes clearer, even the background more visible. This is how I find the scene and the positioning of the elements more discernible and perspicuous than other planars. But I still feel that the scene is wide, frontal and without much three-dimensionality.
Comparisons
Letshuoer S12 PRO
I'm going to cheat a bit and take advantage of previous IEMS comparisons that I have recently reviewed. The first case is the Pro version of the S12, a very famous planar IEMS that has received a slight tweak. For this comparison I used the Silver nozzle on the NiceHCK F1s.
You could say that from 200Hz to 1.5kHz, both FRs are the same, so there seems to be some commonality in these drivers. Although the F1's FR is flatter, I find its profile is brighter. While there is a warm neutrality and noticeable bass punch in the S12 PROs, the F1s are lighter overall, but also more defined, precise, cooler and more analytical.
There is a clear superior bass punch in the S12 PROs, as well as greater depth. Whereas the F1s are more restrained and with a thinner bass, with less punch. Technically very good and with a more detailed expression, the F1s do not have anaemic bass, far from it, but I do notice a little more colour, more finesse, less density and physicality. The S12 PROs have a wider, bigger and heavier bass range, which tends to take up more space.
In the mid-range the S12s feel more neutral, but also a little warmer. That sense of naturalness and attachment predominates. While the F1s show more luminosity, transparency, but less body as well. They are lighter, more volatile, cooler and more expansive. I find more separation and freedom in the F1s, as well as a higher degree of resolution. There is also more joy in the F1s, despite being cooler, the notes are more sparkling, the sound is more crisp, even though the FR comparison seems to have a less energetic treble. Everything is less punchy, but there is also more separation, a more gaseous and volatile sound, also more delicate and analytical. In addition, they offer a larger stage feeling. If someone thinks the S12s are brilliant, I don't recommend the Gold and Silver filters of the F1s. But you could definitely use the Black filter.
The F1s don't offer that clear wall-of-sound feel that the S12 PROs do, but they can also feel a bit more muffled.
On the physical side, I've had trouble finding suitable tips for the F1s, their mouthpiece isn't very long and perhaps the orientation isn't quite right. They weigh less though. But I prefer the more occlusive and perfect fit of the S12 PROs.
Currently, the S12 PRO are cheaper than the NiceHCK F1, but there can always be price changes and offers on both models.
BQEYZ Winter
The Winter are not planar, they are hybrids with a dynamic driver and a PZT Bone Conduction driver.
The price of the BQEYZ is above 200$ and the F1 below 200$, there can be a difference of 50 to 80$ between them, depending on the offers.
In terms of design they are very different. The Winter follow their trend in terms of the shape of the capsules and NiceHCK change the model with a design reminiscent of the Letshuoer D13, but with shorter mouthpieces. Everyone has a say in which design they like best, in terms of appearance. But for ergonomic reasons, I prefer the Winter. The short nozzles of the F1, as I have already mentioned, have given me a headache when it came to finding tips that could extract their full potential. I don't even think I've been able to find them. With the more classic form of the Winter I have had no problems. The Winter comes with slightly more accessories and a better cable. Both cases are very good. The F1 tips are a bit generic. But there is also a price difference to consider.
As far as sound is concerned, my surprise has been in a quick change from one to the other. Compared to the F1, the Winter sounds more muted, perhaps it would be more appropriate to say warm, analogue and organic. Everything is brighter and shinier with the F1. There is a more striking, explicit and direct expressiveness with the NiceHCK planars. But the bass level seems almost the same, despite the visible differences in both frequency responses. Maybe it's because the sealing with the F1 is not as good as with the Winter. I think that the tips I use are not the most suitable to get the best presence in the low end of the F1s. In this aspect, I don't miss anything with the Winter. The Winter has a low end that reminds me of the planars, in terms of speed and behaviour. But they improve their less coloured and less realistic sonority compared to the F1s, which is noticeable when playing pure low-frequency tones. The result is a more sensory bass, with more air movement in the BQEYZs. Otherwise, in technical matters, the similarities are great and the differences lie more in the higher amount of sub-bass in the F1s, which provide a slightly more powerful and punchy feel and a little more depth.
In the mid-range there is a point of higher density in the F1 planars. There is also a more frontal sound and a wall-of-sound sensation, although it is not as pronounced. The Winter's volatility creates a more hollow, yet expansive feel, which also thins out the sense of physicality and body, both in vocals and instrumentation. The mid-range presentation is more explicit on the F1s, with a homogeneity throughout. Whereas on the Winter there is a more natural and organic flow. In the F1s everything is exposition, in the Winters there are sensations, a movement of voices and instruments. In the F1s the perception is of a more static sound, closer, nearer... that wall I talk about so much. There is nothing wrong with either of them, but each one must value the informative, frontal and expressive presentation of the F1s, instead of the more traditional, more moving exposition of the Winters.
In the treble, despite the Winter's high level, the F1s feel more elevated, with a higher level of energy. Not for nothing do they present a vast plateau all the way to the air zone. The Winter's control zone, though small, balances this feeling. The generation of a full and homogeneous sound in terms of energy is maintained in all ranges of the F1s. The Winters provide a breath in every range and feel more suitable for extended use. The F1s are so explicit that they can become saturated and the presence of the high end has an impact on this. The detail is more explosive, more so than the Winter. That's why I still value the good performance of the BC driver over a planar driver excited in the high end.
When it comes to stage, the Winter's are more three-dimensional, volatile and gassy. They don't have much depth, the separation is more circular. The F1s are wider and more frontal, not that they are very deep either. But the feeling of their vast sound offers a wide, generous soundstage with good laterality and height. The Winters win in spatial recreation and in their ability to project sound from more angles. The physical feel of the F1s projects an image that is easier to locate, where elements are more fixed to the scene and more distinguishable. The Winters are more vaporous in this respect, offering a more diluted reconstruction.
Conclusion
NiceHCK joins the planar fever and presents its new F1 model. The driver is a 14.2mm magnetic planar (of course), with a 2µm diaphragm, silver alloy voice coil, N55 magnets and double-sided magnetic circuit. As seems to be the norm, each planar model is usually quite different in design from the rest, and NiceHCK has made an effort in this regard. The only downside is that the nozzles are a little short and this can make it difficult to fit with proper tips. On the other hand, it is marked by the addition of three pairs of filters to tune the sound to your own taste. But for me, the reference filter is enough. But I would rather say excellent. The NiceHCK F1s, with the Silver filter, have achieved a very balanced sound that moves away from the wall-of-sound feeling a bit, to achieve a superior balance in all three bands. Each band has a stellar representation and thanks to the planar technology, each band can be enjoyed separately. Moreover, thanks to this homogeneity, the level of detail is more explicit, the sound is clearer, more descriptive, more analytical, more transparent, more defined and more resolute. It will undoubtedly be a breath of fresh air for those looking for a cooler sound, with greater resolution and analytical capability. The F1s are all that and more, because their filters allow you to change faces for the same price. I congratulate NiceHCK, because they have managed to do a great job with this new model, surprising in the battle of the planars, with a very accurate reference tuning.
Sources Used During the Analysis
- Aune Flamingo.
- Earmen Angel.
- TempoTec Variations V6.
- Hidizs AP80 PRO-X Red Copper Limited Edition.
- ACMEE MF02s.
- xDuoo XD05 BAL.
- TempoTec Serenade X + iFi Zen Can.
Ratings
- Construction and Design: 80
- Adjustment/Ergonomics: 65
- Accessories: 75
- Bass: 88
- Mids: 90
- Treble: 92
- Separation: 90
- Soundstage: 85
- Quality/Price: 91
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 purchased the NiceHCK F1 at a discounted price. The F1 can be gotten here (no affiliate links): https://www.aliexpress.com/item/1005004887263792.html
SPECIFICATIONS
ACCESSORIES
Other than the IEM, these are included:
- Cable
- Leatherette case
- 3 pairs of tuning nozzles
- 4 pairs of narrow-bore silicone tips (S/M/L)
- 3 pairs of wide-bore silicone tips (S/M/L)
While not exactly bare-bones, the accessories are par for the course for a midFI set of IEMs. Just a small nitpick, but perhaps foam tips could have been included?
Do explore with the 2 variants of silicone eartips on offer. The narrow bore (black) ones increase the bass (but decrease soundstage), whereas the wide bore (white) ones increase the upper frequencies and air, with a slightly more expansive soundstage.
During ordering, you can opt for a 3.5 mm (single-ended) or 4.4 mm (balanced) termination for the cable. The provided cable is a OCC and silver plated mixed cable, it is indeed one of the better quality cables I've tried, from a haptic point of view. Said cable is thick, well braided and tangle-free, with minimal microphonics. An added chin-cinch provides stability during use.
I also liked that it came in a 2-pin configuration, as I had my fair share of MMCX mishaps during frequent cable changes. The cable doesn't come with a L or R lettering to delineate the sides of the terminals, but as per usual convention, the right side has a red band, and the left side has a blue one.
The provided leatherette case is nice touch. It is semi-rigid and is quite spacious to hold the IEM and perhaps some additional accessories. The inner layer has webbing and a velvety material to cushion the contents. Definitely very functional, yet elegant.
The selling point of the F1, is of course the 3 tuning options on tap. Just screw the nozzles on, and you are good to go. As we will discuss below, the nozzles do work to change the sound, and are not gimmicky, unlike some other "tunable" IEMs. These nozzles are pretty small though, so please keep them safe, as losing one side of the nozzle would be catastrophic to any audiophile worth his or her salt!
The rest of this review was done with the stock cable and stock wide-bore stock tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The housings are fashioned with an aluminum alloy cavity, using five axis CNC processing manufacturing. There is a black carbon fibre panel on the faceplate. A R and L circle on the housing aids in identifying the sides, and there is also a red and blue knob on the 2 pin connector to reinforce this (as per general convention).
The F1 shells are very light, comfortable and ergonomic, build is top-notch. No complaints on this front.
The F1 uses a 14.2 mm planar driver. This has a 2 um diaphragm, with a silver voice coil and N55 magnets in a double sided magnetic circuit.
ISOLATION
Being vented, isolation is average, but the F1 is perfectly usable outdoors.
DRIVABILITY
I tested the NiceHCK F1 with:
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Questyle M15 DAC/AMP dongle
- E1DA DAC/AMP dongle
- Colorfly CDA M1 DAC/AMP dongle
- Tempotec Sonata HD Pro dongle (BHD firmware)
- Apple dongle
- Smartphone
The F1 is relatively easy to drive for a planar, but it scales with amplification. Dynamics, bass tightness, micro-details and soundstage improve with adequate power.
Interestingly, the sensitivity of the F1 varies depending on which filter is used. The gold filter is the easiest to drive at 101dB/mW, the black is the hardest at 98dB/mW, and the silver filter lies at a mid-point at 100dB/mW. This probably has to do with the damping materials placed in the filter, which perhaps also tames the upper frequencies to various extents (see below, this ties in with the black basshead filter being the most damped (darkest), and also the hardest to drive ).
SOUND & TECHNICALITIES
Depending on which tuning nozzle is used, the F1 can be tuned along a spectrum from a treblehead set to U-shaped (balanced) set, to a basshead set.
Graph of the NiceHCK F1 with various tuning nozzles, using a IEC711 compliant coupler. 8 kHz area is a coupler artefact peak.
As above, the technicalities and resolution will change depending on which filter is installed. Timbre is acceptable enough across all filter settings, but there's a slight unnaturalness heard when acoustic instruments like woodwinds and brasses come out to play, which is a common issue among planar IEMs.
COMPARISONS
Comparisons were made with other midFI planars. Pure BAs, hybrids and single DDs and other driver types were left out of the equation as the different transducers have their pros and cons.
The comparisons below will be utilizing the silver (balanced filter) installed on the F1.
Shuoer S12 Pro
The Shuoer S12 Pro is more V shaped, and is brighter with a thinner note weight. The S12 Pro has more sibilance and can be fatiguing for treble-sensitive folk. Timbre is more artificial on the S12 Pro.
Having said that, the S12 Pro has better technicalities (imaging, instrument separation, clarity, transients, micro-details). Bass is tighter and more textured on the S12 Pro.
The S12 Pro does not have tuning options, but it has a modular cable for 2.5 mm, 3.5 mm and 4.4 mm sources.
DUNU Talos (pure planar mode)
The Talos has a hybrid (BA + planar) and a normal pure planar mode. For the purposes of comparison, only the pure planar mode will be used (but suffice to say the hybrid mode with BA is super bright and fatiguing, and probably most consumers will not be using this mode anyway).
The pure planar mode of the Talos is more neutral bright in tuning. The Talos has less bass quantity and sub-bass extension, but the bass is tighter and cleaner, with more texture.
The Talos has a thinner note weight and a more artificial timbre for acoustic instruments and vocals. Soundstage is bigger on the F1, but the Talos is a league or two ahead in other technicalities, with superior imaging, instrument separation, clarity, micro-details and transients.
Fit is a bit more uncomfortable on the Talos.
The Talos also has a tuning switch to bring the BAs into play, but in terms of versatility, the F1 is probably better, as there is a basshead option available, whereas the Talos just has a neutral bright (pure planar mode) and a very bright (hybrid mode) in its pocket.
Moondrop Stellaris
The Stellaris has a very bright and extremely polarizing tuning. The Stellaris has a much thinner note weight, with sibilance in spades and a quite fatiguing and harsh treble. Vocals sound nasal, and the tonality is unnaturally skewed to the upper frequencies, with the timbre sounding wonky
On the plus side, the Stellaris is way more technical, with better imaging, clarity, micro-details and instrument separation. The Stellaris has more air, sparkle, and a more expansive soundstage too.
Fit is very uncomfortable on the Stellaris due to a long nozzle and heavy shell, which places the centre-of-gravity very far out of the ears. The Stellaris just has one signature, unlike the more versatile F1.
Tangzu Audio Zetian Wu
The Zetian Wu is a U-shaped set with a very well-balanced tonality. Timbre is a bit more natural on the Zetian Wu.
Technically, the Zetian Wu are better, with a tighter and faster bass. Soundstage, imaging, clarity, micro-details and instrument separation are superior on the Zetian Wu also.
The Zetian Wu however, does not have tuning options, so the F1 is more versatile in this regard.
CONCLUSIONS
With every week bringing a new planar IEM, how does the F1 fare in the pantheon of planar releases?
Well, IMHO, the F1 does hold its own in this cut-throat planar world. It is relatively easy to drive for a planar, and the F1 has a decent array of accessories; build, ergonomics and comfort are also good.
The best part of the F1, is of course the tuning options on offer, making the F1 arguably one of the more versatile planar IEMs out there. Just by changing the tuning nozzles, one can get various tuning permutations on-the-fly - be it basshead, a balanced, or treblehead signature.
Having said that, the F1 may be unfairly labelled as being a jack of all trades, since it isn't the most technical planar, and there seem to be compromises on the various tuning nozzles- eg black basshead filter has an untextured bass which is slow, and the gold treblehead filter can be fatiguing and shouty.
For what it's worth, I think the F1's versatility does redeem itself over the above minor flaws, it is kind of getting 3 IEMs with 1 purchase. If someone has not tried a planar IEM before, and is looking to enter the planar game, then the F1 is a worthy set to consider, since it can please most consumers with the various tonal options on offer.
I purchased the NiceHCK F1 at a discounted price. The F1 can be gotten here (no affiliate links): https://www.aliexpress.com/item/1005004887263792.html
SPECIFICATIONS
- Driver configuration: 14.2 mm planar driver
- Frequency response: 20 Hz – 28000 Hz
- Impedance: 15 Ohms
- Sensitivity: Silver Filter 100dB/mW, Gold Filter 101dB/mW, Black Filter 98dB/mW
- Cable: 0.78 mm 2 pin, OCC and Silver Plated Mixed; choice of 3.5 or 4.4 mm termination
- Tested at $154 USD (4.4 mm cable), $149 USD (3.5 mm cable)
ACCESSORIES
Other than the IEM, these are included:
- Cable
- Leatherette case
- 3 pairs of tuning nozzles
- 4 pairs of narrow-bore silicone tips (S/M/L)
- 3 pairs of wide-bore silicone tips (S/M/L)
While not exactly bare-bones, the accessories are par for the course for a midFI set of IEMs. Just a small nitpick, but perhaps foam tips could have been included?
Do explore with the 2 variants of silicone eartips on offer. The narrow bore (black) ones increase the bass (but decrease soundstage), whereas the wide bore (white) ones increase the upper frequencies and air, with a slightly more expansive soundstage.
During ordering, you can opt for a 3.5 mm (single-ended) or 4.4 mm (balanced) termination for the cable. The provided cable is a OCC and silver plated mixed cable, it is indeed one of the better quality cables I've tried, from a haptic point of view. Said cable is thick, well braided and tangle-free, with minimal microphonics. An added chin-cinch provides stability during use.
I also liked that it came in a 2-pin configuration, as I had my fair share of MMCX mishaps during frequent cable changes. The cable doesn't come with a L or R lettering to delineate the sides of the terminals, but as per usual convention, the right side has a red band, and the left side has a blue one.
The provided leatherette case is nice touch. It is semi-rigid and is quite spacious to hold the IEM and perhaps some additional accessories. The inner layer has webbing and a velvety material to cushion the contents. Definitely very functional, yet elegant.
The selling point of the F1, is of course the 3 tuning options on tap. Just screw the nozzles on, and you are good to go. As we will discuss below, the nozzles do work to change the sound, and are not gimmicky, unlike some other "tunable" IEMs. These nozzles are pretty small though, so please keep them safe, as losing one side of the nozzle would be catastrophic to any audiophile worth his or her salt!
The rest of this review was done with the stock cable and stock wide-bore stock tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The housings are fashioned with an aluminum alloy cavity, using five axis CNC processing manufacturing. There is a black carbon fibre panel on the faceplate. A R and L circle on the housing aids in identifying the sides, and there is also a red and blue knob on the 2 pin connector to reinforce this (as per general convention).
The F1 shells are very light, comfortable and ergonomic, build is top-notch. No complaints on this front.
The F1 uses a 14.2 mm planar driver. This has a 2 um diaphragm, with a silver voice coil and N55 magnets in a double sided magnetic circuit.
ISOLATION
Being vented, isolation is average, but the F1 is perfectly usable outdoors.
DRIVABILITY
I tested the NiceHCK F1 with:
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Questyle M15 DAC/AMP dongle
- E1DA DAC/AMP dongle
- Colorfly CDA M1 DAC/AMP dongle
- Tempotec Sonata HD Pro dongle (BHD firmware)
- Apple dongle
- Smartphone
The F1 is relatively easy to drive for a planar, but it scales with amplification. Dynamics, bass tightness, micro-details and soundstage improve with adequate power.
Interestingly, the sensitivity of the F1 varies depending on which filter is used. The gold filter is the easiest to drive at 101dB/mW, the black is the hardest at 98dB/mW, and the silver filter lies at a mid-point at 100dB/mW. This probably has to do with the damping materials placed in the filter, which perhaps also tames the upper frequencies to various extents (see below, this ties in with the black basshead filter being the most damped (darkest), and also the hardest to drive ).
SOUND & TECHNICALITIES
Depending on which tuning nozzle is used, the F1 can be tuned along a spectrum from a treblehead set to U-shaped (balanced) set, to a basshead set.
Graph of the NiceHCK F1 with various tuning nozzles, using a IEC711 compliant coupler. 8 kHz area is a coupler artefact peak.
| Filter Used | Sonic Impressions |
| Black (basshead) filter | This filter gives the F1 a bona-fide basshead tuning. The mid-bass hits hard with a thump, and the sub-bass extends deep and can give a jaw-rattling rumble! Unfortunately, bass quantity trumps quality. The bass speed is on the slower side, with some mid-bass bleed apparent. The bass can smear on very complex and fast bass movements. This setting is very non-fatiguing and smooth, with a thick note weight and lush midrange (warmed by the aforementioned mid-bass bleed). Vocals take a back sit in the mix. There is minimal shoutiness and sibilance. Resolution and soundstage is the weakest on this setting. Imaging, details and instrument separation are obscured and veiled by the big bass on tap. TLDR: this is the best setting for basshead or treble-sensitive folk. However, it is the most analoguish sounding, and has the weakest technicalities. |
| Silver (balanced) filter | This gives a mid-point between the black (basshead) and gold (treblehead) tunings. The tuning is "balanced" in a U-shaped profile, and it should be quite all-rounded for most music genres. The bass is north of neutral, but still lies on the slower side. There is a tinge of mid-bass bleed, and texturing is average. Sub-bass has a tickle of rumble on sub-bass heavy tracks. The upper mids are forwards without being shouty, and sibilance is mild. Treble extension is not the most sparkly or airy. Technicalities are also a mid-point between the black basshead and gold treblehead filters. Soundstage is about average, resolution, micro-details and imaging are not as good as some planar competitors. |
| Gold (treblehead) filter | This filter is a treblehead's delight and the F1 sounds quite analytical with this installed. Note weight decreases. Clarity, resolution, transients, sparkle and air are increased (compared to the black basshead filter). Soundstage is expansive, imaging and micro-details and resolution are markedly improved. Bass is tight and fast, with good texturing and speed, but the quantity is lacking for bassheads. Unfortunately, this tuning gives a shouty upper midrange, with sibilance in spades. High-hats and cymbal crashes can sound overemphasized and splashy. Vocals can sound nasal and the overall tuning can be fatiguing with for longer sessions. TLDR: this is the best setting for trebleheads. Treble-sensitive brethen best look elsewhere. The technicalities are the most impressive of the various filters, and the sound is very analytical and sterile. Definitely, this is an option for critical listening, but perhaps not for long sessions. |
As above, the technicalities and resolution will change depending on which filter is installed. Timbre is acceptable enough across all filter settings, but there's a slight unnaturalness heard when acoustic instruments like woodwinds and brasses come out to play, which is a common issue among planar IEMs.
COMPARISONS
Comparisons were made with other midFI planars. Pure BAs, hybrids and single DDs and other driver types were left out of the equation as the different transducers have their pros and cons.
The comparisons below will be utilizing the silver (balanced filter) installed on the F1.
Shuoer S12 Pro
The Shuoer S12 Pro is more V shaped, and is brighter with a thinner note weight. The S12 Pro has more sibilance and can be fatiguing for treble-sensitive folk. Timbre is more artificial on the S12 Pro.
Having said that, the S12 Pro has better technicalities (imaging, instrument separation, clarity, transients, micro-details). Bass is tighter and more textured on the S12 Pro.
The S12 Pro does not have tuning options, but it has a modular cable for 2.5 mm, 3.5 mm and 4.4 mm sources.
DUNU Talos (pure planar mode)
The Talos has a hybrid (BA + planar) and a normal pure planar mode. For the purposes of comparison, only the pure planar mode will be used (but suffice to say the hybrid mode with BA is super bright and fatiguing, and probably most consumers will not be using this mode anyway).
The pure planar mode of the Talos is more neutral bright in tuning. The Talos has less bass quantity and sub-bass extension, but the bass is tighter and cleaner, with more texture.
The Talos has a thinner note weight and a more artificial timbre for acoustic instruments and vocals. Soundstage is bigger on the F1, but the Talos is a league or two ahead in other technicalities, with superior imaging, instrument separation, clarity, micro-details and transients.
Fit is a bit more uncomfortable on the Talos.
The Talos also has a tuning switch to bring the BAs into play, but in terms of versatility, the F1 is probably better, as there is a basshead option available, whereas the Talos just has a neutral bright (pure planar mode) and a very bright (hybrid mode) in its pocket.
Moondrop Stellaris
The Stellaris has a very bright and extremely polarizing tuning. The Stellaris has a much thinner note weight, with sibilance in spades and a quite fatiguing and harsh treble. Vocals sound nasal, and the tonality is unnaturally skewed to the upper frequencies, with the timbre sounding wonky
On the plus side, the Stellaris is way more technical, with better imaging, clarity, micro-details and instrument separation. The Stellaris has more air, sparkle, and a more expansive soundstage too.
Fit is very uncomfortable on the Stellaris due to a long nozzle and heavy shell, which places the centre-of-gravity very far out of the ears. The Stellaris just has one signature, unlike the more versatile F1.
Tangzu Audio Zetian Wu
The Zetian Wu is a U-shaped set with a very well-balanced tonality. Timbre is a bit more natural on the Zetian Wu.
Technically, the Zetian Wu are better, with a tighter and faster bass. Soundstage, imaging, clarity, micro-details and instrument separation are superior on the Zetian Wu also.
The Zetian Wu however, does not have tuning options, so the F1 is more versatile in this regard.
CONCLUSIONS
With every week bringing a new planar IEM, how does the F1 fare in the pantheon of planar releases?
Well, IMHO, the F1 does hold its own in this cut-throat planar world. It is relatively easy to drive for a planar, and the F1 has a decent array of accessories; build, ergonomics and comfort are also good.
The best part of the F1, is of course the tuning options on offer, making the F1 arguably one of the more versatile planar IEMs out there. Just by changing the tuning nozzles, one can get various tuning permutations on-the-fly - be it basshead, a balanced, or treblehead signature.
Having said that, the F1 may be unfairly labelled as being a jack of all trades, since it isn't the most technical planar, and there seem to be compromises on the various tuning nozzles- eg black basshead filter has an untextured bass which is slow, and the gold treblehead filter can be fatiguing and shouty.
For what it's worth, I think the F1's versatility does redeem itself over the above minor flaws, it is kind of getting 3 IEMs with 1 purchase. If someone has not tried a planar IEM before, and is looking to enter the planar game, then the F1 is a worthy set to consider, since it can please most consumers with the various tonal options on offer.
