NiceHCK NX7 MK4

Introduction

NiceHCK, the AliExpress shop, persists in the continuous improvement of its products and returns to the charge with the 4th generation of its 7 hybrid driver model, consisting of a 10mm dual dynamic driver with beryllium-plated diaphragm, four BA drivers and a seven-layer PZT driver. This is the NiceHCK NX7 MK4, a small-capsule IEMS, which has "stolen" the external plate from its partner Topguy. They have three filters for fine-tuning the sound, just like their previous generations. Most importantly, NiceHCK seems to have tamed the frequency response, achieving greater linearity and balance in all ranges. The set is completed with a kit of accessories that is not new, but is the top of the range with which the brand accompanies its best creations, such as the previously reviewed NiceHCK F1. The cable is the same and the capsule consists of several parts made of different materials. The outer face is made of stabilised wood and resin, encased in an aluminium alloy rim, and the inner face is made of polycarbonate. Let's take a look at the performance of these IEMS which are priced at just over $100.



Specifications

• Driver Type: 1DDD dual 10mm, beryllium-plated diaphragm, 4 BA drivers and 1 seven-layer PZT driver.
• Frequency Response: 20Hz - 28kHz
• Sensitivity: Gold Filter 112dB/mW, Red Filter 113dB/mW, Black Filter 110dB/mW
• Impedance: 39Ω
• Jack Connector: 3.5mm SE, 4.4mm BAL
• Capsule Connection Type: 2PIN 0.78mm.
• Cable length: 1.2m ± 3cm.

Packaging

The presentation is very similar to that of its F1 companion. It is a white box with a real photo of the capsules in its centre. Its size is 172x127x55mm. At the top left is the brand logo in holographic ink. A little lower, in the centre and in orange, is the name of the model. There is an additional description at the bottom of the box. On the back are some of the specifications, in Chinese and English. There are also the brand's contact details at the bottom. With the outer cardboard removed, there is a black textured box 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 NX7 MK4 capsules.
• One OCC-silver-plated mixed cable, with 4.4mm balanced connector.
• 4 pairs of white silicone tips, sizes SxMxLxXL.
• 3 pairs of black silicone tips, sizes SxMxL.
• One branded velcro strap.
• A blue leatherette case.
• 3 pairs of filter tips (Gold, Red, Black). The Gold mouthpieces are attached to the IEMS.
• User's guide.
• Inspection certificate.

The idea is a continuation of the previous models and still uses a good carrying case. The cable is good and soft, but I have to say that NiceHCK has more attractive cables. The set of tips is the classic one and I miss a point of innovation in this sense, as well as some foam tips. But for the price of the product, the fact that it has the same packaging and level of accessories as other more expensive products is to be appreciated.



Construction and Design

NiceHCK has made various modifications to the capsule design over the four generations. The NX7 MK4 is a somewhat heterogeneous mix. It has the same outer plate as the Topguy, made of stabilised wood and resin. Around it, there is a golden aluminium alloy rim, while the inner face is made of polycarbonate. The outer face is protected by a transparent plastic and its shape is the classic African continent shape, but with rounded edges. The inside is very rounded, transparent, not very thick. There is a hole in the centre of the DD, on the outer side. The whole is light and of medium size. On the gold rim you can read the full name of the model and the mole with the letter indicating the channel, in dark ink. There is a rectangular, shallow plate, which contains the 2PIN 0.78mm female connection. The cable is fitted to match this plate. The nozzles are gold-plated brass and the filters are screw-on. There are three, Gold, Red and Black.
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 angled, transparent pieces, with the channel letters inscribed on the outside. The sleeve of the plug is smooth, cylindrical, shiny and metallic, with a roughened strip for easy gripping. The plug is 4.4mm balanced. The splitting piece is completely smooth and the pin is a metal ring with a rough surface. It has guides on the ear, but they are soft, like the whole cable, which is very mouldable.
The mix of designs and parts already known from previous models gives it a somewhat heterogeneous look. But I must admit that the ergonomics are very good, as I will explain below.



Adjustment and Ergonomics

After having tried several IEMS that didn't fit my morphology very well, I was afraid of losing the universality of my ears to the new models. But fortunately this is not the case with the NX7 MK4. Their rounded, depressed inner shape barely touches the outer parts of the ear. The weight is very light and I had no problem using my large, foam-filled silicone tips. The fit is precise and immediate, no additional placement is required, it adjusts right out of the box. The seal is quite occlusive. There is no movement, no rotation, the shape of the outer face contributes positively to this. The size is medium-small and gives a floating sensation although the anchorage works very well. The mouthpiece has a good slope and, although it is not very long, the insertion could be shallow to medium.
Although there doesn't seem to be any innovation, the design works excellently in this area.



Sound

Profile

I tried the first version of these NX7s and I think that in these MK4s there is a clear idea of softening the exalted FR of those. In that sense, the current frequency response, with the Gold filter, moves in a vertical band of 10dB in almost all its totality, something that gives an idea of the smoothness and balance that this filter provides. It is a smoothed w-tuning, which presents a linear low end, starting from a slight increase in the sub-bass. The drop towards the bass is slight, as is its subsequent plateau in the upper mids. The treble starts with a small control zone, to climb into the typical PZT peak, between 6kHz and 8kHz. But, on this occasion, the treble is very controlled and moves in a narrow band of back-and-forth. In addition, it ends up with a very interesting and extended air presence, superior to many models in its price range. The Red filter is lightened in the low end, and is excited in the 2kHz and 4kHz peaks, to gain sparkle and transparency. Although I would have preferred if the Red filter had not altered the bass, but only served to raise the sense of light and closer detail. There is little difference in the treble. The Black filter lifts more in the low end and suppresses the 2kHz and 4kHz peaks, however, it gets slightly excited in the highs.
The Gold filter has a good balance, but I find it a bit soft in both the amount of light and the level of transparency. However, I find it very adequate in bass, with a presence that I consider fair. The Black filter loses this balance in favour of a more powerful bass, but at the cost of losing more illumination in that phase, which I find fair. The mid-highs become more muted and lacking in sparkle. The sound is warmer and too subtle for my taste. With the Red filter the opposite happens, the greater emphasis on those 2kHz and 4kHz excites the sound, but the sound is a bit more metallic and a bit more uncontrolled. The ideal for me would have been a mix between the Gold and Red filter. But seeing as the Mid-High filter gets a little spicy and subtly unnatural, I'll continue the review with the Gold filter, whose compromise is good, accurate, smooth, balanced and the most well-rounded of the three.



Bass

What do you know! But the NX7 MK4s with the Gold reference filter are even a little dark. It's that darkness mixed with warmth, a characteristic that adds creaminess to the low end, generating a more unctuous and pleasant bass. But this ability is not at odds with the quality of presentation, nor is it at odds with the speed of execution. The hit feels complex, tight and concise, the execution is beautifully executed with good roughness. The sound is natural and the test of the very low frequency pure tones is remarkably well executed, with an uncoloured timbre and a quite pleasant and adequate sonority. The recovery feels relatively fast and there is little sediment left behind. You can tell this is a specialised bass driver because the recreation of the lower range feels very complete, while the properties of the beryllium try to contain its controlled power. As a result, the bass is round, solid, full, physical, full-bodied, powerful, punchy and very appealing. They have a sweet spot that encourages you to turn up the volume and enjoy the fullness of the range. Even in these situations, the bass doesn't get out of control, but fills the sound and adds a beautiful depth. It is agile in complex situations and able to execute unfiltered bass without distortion. It withstands high sound pressure situations, being adept at recreating multiple bass lines and layering separate layers.
Without being perfect or the most defined bass, it feels pleasant and improves with analytical sources, because it perhaps compensates for the thickness of the lower range.



Mids

That subtly dark aspect lends a touch of dryness to the mids, but without any loss of sweetness or richness. There is a good balance between physicality, fullness and density, without the sound of the first half of the mids feeling totally near or close. The combination of the first half and the second half is very well achieved, resulting in a compensated and balanced midrange. I think this Gold filter generates a nuance in the sound that makes it more analogue, that mix of darkness that softens the momentum of the BA drivers, to give them a more pleasant, silky and velvety sonority. It seems to lose precision or definition, but it gains in musicality, in a more harmonious and melodious sound, which gains in exuberance, but without losing transparency, separation or resolution. In this way, the midrange is quite full, rich and present, but without being opulent or bold. The vocals are very well combined with the bass area, as well as being well separated. They know how to stay behind the low end when the song so presents itself, or get ahead of it when the opposite is the case. There are no overbearing outbursts and the blend is quite natural, with that subtle patina that smoothes out the rough edges. The equilibrium and good tuning prevents any hint of muddiness, nor is there any sibilance. And from all of this comes that feeling of an analogue, yet rich and rounded sound.
The midrange, without being spectacular, has everything I could ask for to enjoy for hours, for listening that is not too critical. Not too clear, but still maintaining a level of transparency and detail that is quite natural and pleasing.



Treble

In the treble you can feel that control zone or roll-off at around 5 or 6kHz. It is clear that NiceHCK has learned from its mistakes and has forced the first treble to be more shaded. I think that instead of improving the quality of the BA drivers or refining the PZT driver, they've agreed on a link between the tuning and the filters, to soften the high end and move it away from the excess of that first version. You can feel the layer of shade in the early treble and how it affects the definition of the highs. I can feel that they are not free, but I still prefer them, because they move away from a more metallic or over-emphasised sonority, which would not bring naturalness to the sound. I don't think the choice of the word "natural" is the most convenient either, but it is true that no faults are shown. The high range starts securely and extends with the virtue of the PZT driver, educated in its 8kHz hot spot and stretched all the way to 15khz. There is ample presence throughout the treble, but with that characteristic focus on not exceeding a red line of presence that makes flaws in the sound visible. The result is a sound that parades on a thin sonic line that avoids making missteps, but also doesn't reflect reality to an audiophile degree. It is an attempt to sound with a lot of definition and resolution, but without achieving genuine fidelity. But it's true that many amateurs won't be affected, because the treble integrates quite well with the tuning of the lower ranges. In addition, it has a limited sparkle capable of providing good macro detail and some more exposed micro nuances.



Soundstage, Separation

The subtly dark and shaded analogue sound mix prevents a certain expansiveness. The scene lacks a more visible three-dimensional feel, although the laterality and stereo sensation reaches 180º, but does not exceed this limit. Recreation is frontal, of average height, though good depth. The sound is perceived as cohesive, musical and silky, something that binds its exposition together. It's not a tight scene, but it doesn't stand out in this respect either. Separation is good, this is not a technically adept IEMS in this respect, but it is not flawed either. It is a good all-rounder, it can be used for hours on end and on a daily basis without overwhelming. The level of transparency is adequate, good for providing a good level of definition, but without being analytical or overly expressive. It gets to a point and the tinted layer prevents more resolution. Perhaps the red filter offers more detail, but with a risk in sonority and timbre.
The image is good, but without being explicit in a totally precise and distinguishable location. Nor does the size of the scene help in this respect.



Comparisons

TRI KAI x HBB

I've said before that I like to compare IEMS with similar tunings and similar prices. This time it's the TRI KAI x HBB, a premium looking model, made of aviation grade aluminium alloy level 7. They can now be found for just under €100, while the NX7 MK4 is around €125.
The Kai's packaging is pared down, without much in the way of frills or accessories. It does, however, come with a good cable and a good case. In this respect, both are similar, although the NiceHCK package is larger. Looking at the looks of the two, I wouldn't choose either for a design contest. I wouldn't choose the Kai for its gold colour, nor the NX7 MK4 for its heterogeneous mix of flavours.
In terms of ergonomics, the NX7 MK4s are a blessing, while the TRIs are not bad in this respect, but the weight and size penalise, comparatively speaking.
Sound-wise the difference is in the nuance. The Kai's seem freer and clearer, while the NX7 MK4's have that layer of softness that limits their exposure. Also in the bass area, you can feel the depth and better definition in the low end, as well as the bass shift towards the LFOs. The NX7 MK4s have more rounded bass. The result is an abyssal bass in the Kai's, which is absolutely stunning. While the comparison is watered down when you switch to the NX7 MK4s. They don't have the resonance, the texture, the punch or the physicality. The NiceHCKs just show more dryness and a more compact tendency.
While it might seem that the mid-range of the NX7 MK4s would be fuller, the Kai is no slouch in this respect. In addition to better clarity, there is also more transparency and a less nuanced sound. This gives the TRIs a little more texture, but also a point of richness, with more surface detail and descriptiveness. The level of brightness and sense of dynamics is also greater in the Kai.
Despite the arsenal of drivers, the Kai's highs seem more coherent and natural. Although the control zone is deeper and wider in the TRIs, their simplicity works in their favour. More extension and more air in the NiceHCKs, but with that ambivalence of the PZT timbre.
The technicalities are more evident in the TRIs, as opposed to the opacity and relative darkness of the NiceHCKs. The greater illumination, clarity and transparency of the Kai offers a more explicit sense of definition, resolution and detail, as opposed to the velvety smoothness and nuance of the NX7 MK4. In this way, the Kai's scene feels wider and more expansive, as well as possessing a clearer and more evident image, with more obvious and precise positioning. In the same vein, separation is also more perceptible and despite the verve it possesses, it is also a little more refined in these abilities.



Conclusion

NiceHCK has managed, after four iterations, to make its NX7 sound pretty good. As with previous versions, it is a tri-hybrid with a 10mm dual 1DDD, beryllium-plated diaphragm, 4 BA drivers and 1 seven-layer PZT driver. It also incorporates 3 pairs of tuning filters, to adjust the sound to our taste, of which the Gold series filter stands out. With these, the sound is quite balanced, equilibrated, without any unpleasant treble, even smooth and slightly shaded/dark. The result is a pleasant IEM, quite all-round and suitable for everyday use. The design combines the beautiful outer sides of the TopGuy and a polycarbonate inner part. The mix is a bit heterogeneous and detracts somewhat from the overall attractiveness. The accessories are still the best of the house and that brings that premium character that NiceHCK gives to its best creations.
Possibly, these NiceHCK NX7 MK4 are one of the most comfortable IEMS, with the best ergonomics and fit of the last models I have reviewed. They fit like a glove and it's extremely easy to find the best sound in them, using any tip on the market.
But the crux of the matter is that, for price, they fit in a range where the competition is simply brutal and where every day there are qualitatively tremendous models on the market. Thus, despite being a remarkable model, it is very difficult to stand out among them all. But what is really positive is that NiceHCK has achieved a good and pleasant tuning. Now it only remains to improve on the technical side. I'm sure it will succeed.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + iFi Zen Can.
• TempoTec Serenade X + iFi Zen Can.
• Earmen Angel.
• TempoTec Variations V6.
• ACMEE MF02s.
• xDuoo XD05 BAL.

Ratings

• Construction and Design: 70
• Adjustment/Ergonomics: 93
• Accessories: 75
• Bass: 76
• Mids: 78
• Treble: 70
• Separation: 70
• Soundstage: 70
• Quality/Price: 80

Purchase Link



You can read the full review in Spanish here

NiceHCK NX7 MK4

NiceHCK is a manufacturer that always tries to improve upon their former successes. Their line of NX7 tribrids were for NiceHCK just this. Tribrids overall are not too common but if tuned correctly they can provide something different for your musical listening and the NX7 series of earphones are utilizing 7 drivers per side of the MK4 version to come up with one complete sound.

I remember being contacted by NiceHCK to review their very first NX7 and if anything those stood out for several reasons. It had extensions on both ends of the sound spectrum that was clearly above what most IEMs produce for the price and had arguably some of the best quality bass presentation at the price. Today we see an entirely new 4th gen version of the same formula. To be completely honest, I was hoping/expecting for a new shell type. Even with last year's MK3 version I was thinking there is no way NiceHCK is going to reuse the same shells.

Well I was wrong. The shells are no different than what they used for their first version over 3 years ago. There are several improvements from the prior MK3 version that would make MK4 to be an advancement. It uses some newer dual dynamics as it is now using a dual beryllium coated composite dynamic from their prior carbon nanotube dynamics. Most importantly after re-tuning the NX7 over and over again NiceHCK has now optimized each of the drivers used for the NX7 for the absolute best SQ they can squeeze out from this configuration. I can tell immediately the balancing is better from their prior designs. Not exactly a leap from the MK3 but still has some upgrades worth noting.

With that I would like to thank Jim of NiceHCK for providing a sample of the MK4 for review purposes. You can get yourself a set here on their aliexpress page. The MK4 has been burned in for a period of a week and are now ready for review using my sources Fiio K9 Pro ESS, IBasso DX300Max, Fiio M15, BTR7, Shanling M6 pro, IFI Gryphon, IFI Signature.

Its outer shell now uses stabilized wood design which gives a unique look to the shells but that's just for a newer upgraded look, the actual shell chassis are the same as all their previous NX7s.
Plastic builds are ok and I suppose in reusing the same design as their prior NX7s this is a way to save on cost of production. I feel this is a bit of a lost opportunity for NiceHCK however. This housing is about as generic as it gets. This housing is not only used for NiceHCK but a myriad of other IEMs in the market. Look up TFZ,KZ,KBear,CCZ, and TRN earphones for example.

Some newer updated drivers, a new tuning that improves on its balance, easier to drive vs prior NX7s, a new cable, a new color scheme and you get an updated version of their NX7 complete with interchangeable nozzle caps that actually works. The lack of moving onto a newer housing is made up for not charging the consumer more for these advancements but for me anyways. I would gladly spot an extra $20 for a more spacious housing that will allow all the drivers inside the cramped NX7 shells to have some space with an added effect of throwing out a larger grander sound stage.

What you get.
The NX7 MK4 comes with NiceHCKs blue magnetic faux leather squarish clam shell box case, 2 pairs of silicone tips, 3 different tuning nozzle caps in different colors, and lastly a well matched 2 core silver plated OCC cable in either single ended, 2.5mm or 4.4mm balanced depending on what you choose when you order the NX7 MK4. NX7s in general sound better amped or with some more power. Balanced is recommended for best sound performance.

Sound
I have to give props to NiceHCK team for maximizing a whole bunch of drivers in the smaller medium shell of the new MK4 version. The new sound tuning of the MK4 sees several advancements to its sound formula. The idea of the 3 tuning nozzle filters is to give varying degrees of upper mids and lower trebles for the MK4 which effectively changes the balancing of the MK4. Out of all the variations of the NX7, these make the absolute best use of tuning caps. I would have liked to see a cap somewhere between the gold balanced and the red treble cap but what you get here is an actual variety based on how you like your trebles. The bass black cap lowers the upper detailed aspects of its tunings for warmer bass focused sound. The red more treble enhanced and is the most v shaped borderline brighter tuning out of the cap varieties.

My take on the MK4 here is more based on the balanced gold cap which NiceHCK apparently thinks is the best out of the 3 as it comes with them installed out of the box.

Hybrids and tribrids here for the MK4 brings about a bit of a challenge for manufacturers that make these as they have to have proper cohesion, Crossover techniques to get the best out of each driver used and all of it has to jive. Truth is, some do it better than others as I suppose given that NiceHCK has been constantly reformulating the same tribrid techniques for the NX7s they got it to a point where the NX7 now sounds the best I have ever heard it, however it has one glaring flaw that you can probably guess that limits them to becoming a true special IEM.

The new MK4 sound has good balancing for what it does much better than their previous efforts.. It has a boat load of drivers Dual beryllium coated composite dynamic handling the bass to mids, 4BAs handling upper mids to highs and a 7 layer piezo driver handling the ultra highs. Ultimately the main difference between the MK4 vs their prior versions is that they have fine tuned the balancing especially the treble aspect. It has a moderate pinna gain and even more so with the red filter which changes the tonal quality to be slightly brighter just on the cusp of being edgy. The gold filter is just right, the balancing is the best among the NX7 versions thus far in this configuration. The black filter brings a slight warmth due to lesser upper mids and brings the most bass influence to the MK4 sound. This brings a smoother slightly warmer take on the tonal character with the bass playing a bigger role.

I can tell NiceHCK has maximized each driver to bring out the complete sound. Its technicals clearly shows a proper imaging and its note weight for sonics is just about right for the given presentation. Its technicals are generally good and has the right amount of note weight to music. Its mids for vocals are tonally correct, has average note separation, images well and generally has a good foundational macro details to its sound. Where the NX7 and all their prior versions are not good at is again their sound stage.

I know I seem to keep pointing that out here but to be fair most IEMs have an intimate sound in the first place but when all the drivers actually sit inside the concha of the ear due to the tight cramped space limitations of the housing it uses. You get an even more intimate stage. They're as well tuned as the MK4 version. I can't help but point that aspect out. Throwing in 7 drivers inside a tight smaller side of a medium shell, to fit right and sound right is a small miracle unto itself however as much as folks want to claim these actually get an increase of stage. Actually I beg to differ, they have the exact same stage as all the prior NX7s. I have all of them side by side and I can confirm MK4 has the best tuning out of all of them, but all of them share practically the same intimate stage.

Trebles
This time trebles is balanced well the first gen NX7 had the most treble emphasis and extension out of all of the NX7s with each newer version NiceHCK has started utilizing the tuning caps that actually not only tamed down the treble aspect of the tunings but now sees the most balanced version of it thus far. The bulk of the sound is done by the dynamics and the 4 BAs. Piezo is to provide for the brilliance aspect of the sounds. I have heard Piezos being utilized on a handful of IEMs and Piezo upper treble gives a distinctive after treble note that is a touch thinner in presence Its bright accent quality is a bit thinner than something like BA or EST treble but at the same time can and does hit the highest notes easily. Extra sizzle is noticeable with the NX7 IEMs. NiceHCK could have ditched the Piezos altogether and tuned a set of the dual BAs for the high and ultra high notes with ease but instead they relegated 4 BAs for its trebles with the Piezo doing the upper brilliance accents. This works but here is where the coherence aspect of the NX7 suffers a touch. The actual treble note is defined well enough but the sizzle aspect of the trebles sound a touch artificial. If you take it as being an aspect of the Piezo effect on trebles than it is ok but. Upper trebles are highlighted to be sharper than the lower treble aspects.

What's important here is the trebles have good coverage and are as extended as you will ever need for the trebles. Good details with a quick transient quality the treble tuning is nicely done on the NX7 especially for the gold cap tuning. Some might have some issue with the red cap having the most treble with the most sizzle and a slight bit of glare. Overall trebles is really what NiceHCK has tuned better on these, Piezos and all it clearly shows a better balancing as a result.

Mids
Mids of the NX7 are handled by the dynamics not the BAs so the timbre aspect of the mids are the best of the NX7s. Is a bit more forward vs the previous NX7s. Shows a touch of richness, good note weight and depth for a proper mids presentation. It will depend on how much clarity you like in your tuning but the Red cap which shows the best clarity for the mids the black cap with the most warmth. Gold cap again is just right, mids actually get the benefit of using a nicer Beryllium coated composite dual dynamic which seems to add a richer tonal quality with better definition than what they have used in the past. MK4s mids sound a touch more focussed vs their prior NX7 IEMs. Which is one of the reasons why I have some issues with its stage presence. Give the richer mids character a larger head room to work with in a bigger stage and NiceHCK could have made a statement IEM at the price point. As they are, their average to confined stage presence just seems a bit tight sounding in the ear.

The sound design could be due to how all the drivers are tight inside the shells. Sound separation and imaging is average for the price point. The presentation does not sound cramped but at the same time their lack of stage really hampers what these have the potential to sound like. If listening casually the MK4 performs exceedingly well but it is because they are starting to show signs of a higher end balancing and refinements they get so remarkably close to achieving a higher tier of IEM. For the asking price they are good, very good. Definitely the best NX7 tribrid and probably the best sounding tribrid at the price point, well considering there are not too many tribrids at this price actually. It's like throwing in a V8 engine inside a small VW bug. You get power for days but does that really fit?

Mids detail aspect is commendable and has proper layering albeit a bit more intimate in presentation than I would like. On the other hand they certainly don't sound confined or canned either but nowhere close to being open or diffused sounding.

Bass.
This is the one aspect of the NX7 IEMs that excel. The dual dynamic being used for the MK4 brings a nice quality woofer like bass output for the new NX7. The bass end is not exactly at a basshead level of emphasis but the combination of its tonal quality, good texture albeit a touch on the slower decay is nicely rounded in its bass quality. MK4s bass is more moderate in emphasis yet has a solid punch giving the MK4 a proper bass end to round out its presentation. Its not the quickest of bass note or does it have the best authority when it comes to bass but for what its got. It does show some of that beryllium type bass dynamics that ends up being really good for watching movies and playing games.

Beryllium plated dynamics have always done bass better than most. A combination of using this material and also utilizing a dual design puts the power behind its bass presence. Its weighty punchy bass end is addictive, and I can easily recommend bass lovers to get themselves a set just for its bass presentation slower bass and all. NiceHCK does not do too many true neutral tunings. All their IEMs have bass emphasis to a certain degree, so it is a part of their house sound philosophy to tune with some authority in the bass and we get that for the MK4. If nicely textured rumbly deep hitting woofer like bass is your thing. The MK4’s bass presentation makes for awesome explosions and does bass genres for music some justice.

Overall
The NX7 MK4 was a surprise both good and bad. I am happy for NiceHCK for finally nailing the tribrid formula at the price point to have the best absolute sound quality they could squeeze out of these drivers. There are flashes of a higher end tuning, and its balancing is done well the best among the NX7s. The addition of nozzle caps to tune these to your liking is an added plus for the MK4. However it is due to just how good these things can sound that I find that this was such a lost opportunity for NiceHCK to make a clear upgrade on the NX7 formula by using a more roomier spacious shell for the MK4. I really can’t see these guys reusing that shell again. ( But I said that on their MK3 review). If I wasn’t clear enough from my review of the MK3 version. Well let me be very clear on this one. This exact tuning and drivers in a larger more bigger shell that lets the drivers have more space and room to expand it sound and these NX7 could be easily sold at double the price and I don’t think folks would bat an eye about just how good these could sound. The sound quality is there, but that stage is hampering these from greatness.

As they are, these are enjoyable to listen to especially if you're using them for media purposes. But it is time to take it to the next level. 4 versions of the same formula is good enough. Give the consumer a greater reason to buy into the NX7s again. How about the NX8 with a bigger roomier shell? Thanks for taking the time to read. Happy listening always.

DISCLAIMER

I bought the NiceHCK NX7 MK4 at a discounted price. The NX7 MK4 can be obtained here: https://www.aliexpress.com/item/1005004763288556.html (no affliate links).





SPECIFICATIONS

• Driver configuration: 4 x balanced armature drivers + 1 x Beryllium-plated dual dynamic driver + 1 x seven-layer piezoelectric driver
• Frequency response: 20 Hz – 28000 Hz
• Impedance: 39 Ohms
• Sensitivity: Gold Filter 112dB/mw, Red Filter 113dB/mw, Black Filter 110dB/mw
• Cable: 2 pin, 0.78 mm, OCC and silver-plated mixed cable; choice of 3.5 mm or 4.4 mm termination
• Tested at $109 USD (3.5 mm single-ended cable) or $114 USD (4.4 mm balanced cable)

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of narrow-bore silicone eartips (S, M, L)
- 3 pairs of wide-bore silicone eartips (S, M, L)
- 3 tuning nozzles
- Leatherette carrying case
- Cable



The accessories are decent enough for a $100ish USD set. Perhaps foam tips could be added, but the array of accessories should be quite serviceable, with no aftermarket gear needed.




Two variants of silicone eartips are provided. 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.

Do tip-roll to see what suits your preference, as eartips are as personal as shoes, due to our different ear anatomies. Not only do eartips affect the sound, but they also affect comfort, seal and isolation.




Upon ordering, you can opt for a 3.5 mm (single-ended) or 4.4 mm (balanced) termination for the cable. This cable is a OCC and silver-plated mixed cable, it is quite nice from a haptic point of view - it is thick, well-braided and tangle-free, with minimal microphonics. An added chin-cinch provides stability during usage.

I'm a proponent of a 2-pin configuration cable, as I had my fair share of MMCX connectors failing on me during frequent cable changes. I'm really glad the NX7 MK4 uses this 2-pin design, so longevity shouldn't be an issue. There's a R and L letter on the respective distal terminals to delineate the sides.




The included blue leatherette case is semi-rigid and quite spacious internally. The inner layer has webbing and is lined with a velvety material to cushion the contents. Definitely a looker, yet quite practical.

The NX7 MK4 brings a tunable nozzle concept to the table. As we will discuss below, these nozzles ain't gimmicks, and actually provide 3 different tuning options on the fly, thus making the NX7 MK4 extremely versatile.

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 made from 4 different materials:
- Stabilized wood forms the faceplate, and this incorporates a mother-of-pearl whirly design.
- This faceplate is lacquered with environmental resin.
- The inner aspect of the shells are fashioned from polycarbonate.
- An aluminum alloy links the wooden faceplate to this inner polycarbonate housing.





Along the sides of each housing, there is a R and L circle to identify the sides.

The shells are relatively light, and build is robust. Comfort and ergonomics are top-notch, I experienced no discomfort despite using the NX7 MK4 for long listening sessions. I did not find any driver flex on this IEM, but driver flex is partially dependent on ear anatomy and type of eartips used, so YMMV.




A beryllium-plated DD handles the bass and lower midrange. 4 BAs settle the midrange to treble, while a 7 layer PZT driver takes care of the ultra high frequencies. For curious consumers, the inner aspect of the housings are transparent and allow one to see the various drivers, in all their glory!


ISOLATION

Despite being vented, isolation is about average, and this set is good enough for outdoor usage.


DRIVABILITY

I tested the NiceHCK NX7 MK4 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)
- Hiby R3 Pro Saber 2022 DAP
- 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

This set is relatively easy to drive, but it scales slightly with amplification. Dynamics, bass tightness, micro-details and soundstage improve when fed with clean power.

One point to note: sensitivity of the NX7 MK4 varies depending on which filter is used. The black (basshead) is the hardest to drive at 110 dB/mW, the red (treblehead) is the easiest at 113 dB/mW, and the gold (balanced) filter lies in between at 112 dB/mW. This probably has to do with the damping materials placed in the filter, which 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 NX7 MK4 can give a gamut of sonic profiles, from a treblehead set to U-shaped (balanced) set, to a basshead set.


Graph of the NiceHCK NX7 MK4 with various tuning nozzles, using a IEC711 compliant coupler. 7/8 kHz area is a coupler artefact peak.




As alluded to, the technicalities will vary along a spectrum (from weakest in the black (basshead) filter, to the best in the red (treblehead) filter), depending on which filter is installed. However, even on the red (treblehead) filter, and with the wide-bore eartips used, soundstage is still an area of weakness of the NX7 MK4. Width, depth and height of soundstage are compressed, and music sounds "in your head". Thankfully, on the red (treblehead) and gold (balanced) filters, the good imaging make up for the lack of soundstage, so instruments can still be pinpointed in the headspace.

Timbre is not class-leading, there's a piezo zing noted (probably due to too fast transients that are inherent in most piezo containing IEMs), and BA timbre is apparent for acoustic instruments. This is more obvious with genres focusing on vocals, woodwind and brass instruments, but the unnatural timbre can be somewhat mitigated when the black (basshead) filter is used.


COMPARISONS

Comparisons were made with other hybrids retailing around +/- $100ish USD. Pure BAs, planars, single DDs and other driver types were left out of the equation as the different transducers have their own pros and cons.



The comparisons below will be utilizing the gold (balanced filter) installed on the NX7 MK4.


TRI Starsea

The Starsea is a tunable hybrid which can give 4 different sound signatures. Unlike the NX7 MK4, the Starsea operates via tuning switches, rather than screwable nozzles. The Starsea, even on the bassiest switch (called the "amazing bass" setting), is not very bassy, and just somewhat north of neutral.

A few of the treblehead settings on the Starsea are quite similar sounding and border on gimmicky, so even though on paper, the Starsea has 4 tuning options, they are not as light and day different as the 3 tuning options the NX7 MK4 provide. Hence, versatility may actually go to the NX7 MK4 even though it has 1 less tuning option.

In terms of ease of changing the sonic configurations, the switches on the Starsea require a little cardpin or toothpick to flick, and some of the switches may become hardened with time. The NX7 MK4's tuning nozzles are less finicky to swap out, but of course one may lose the small tuning nozzles or there may be wear and tear with prolonged usage on the nozzles?

In technicalities, the Starsea are a league ahead, with better instrument separation, clarity, imaging and micro-details. Of note, soundstage is better in all 3 dimensions on the Starsea.

Timbre is a bit more artificial sounding on the Starsea.

The Starsea has better isolation, but suffers from driver flex/pressure sensation in the ears, which isn't present in the NX7 MK4.


Truthear HEXA

Read no further: the HEXA wins hands down as it has a waifu in the packaging, which cannot be said for the NX7 MK4's industrial looking packaging.

K jokes aside, the HEXA is a rare neutral tuned IEM with a sub-bass boost. It cannot be tuned, so versatility goes to the NX7 MK4, but the HEXA's tonality is nevertheless very unique for a sub $100 set.

In technical performance, the 2 are very close (assuming the NX7 MK4 is on the gold (balanced) filter). Both sets are weak in soundstage, but the HEXA has a hair better imaging, clarity, micro-detailing and instrument separation. If the red (treblehead) filter is used, the MX7 MK4 would win in technicalities, though conversely it would be more fatiguing.

The HEXA has a mid-bass scoop out, so it may sound anemic for bass forward genres like hip hop or EDM, whereas it is no biggie switching the NX7 MK4 to the black (basshead) filter if one wants bass.

Timbre and coherency is slightly better on the HEXA.

The HEXA has better isolation, but comes with a horribly thin, tangly and microphonic cable. The HEXA is harder to drive.


TRI Meteor

The Meteor is a U-shaped hybrid. It cannot be tuned, so in versatility the NX7 MK4 has the upper hand.

The Meteor has a thicker note weight and sounds more analoguish. The Meteor doesn't have as good treble extension/air. The Meteor has a similarly small soundstage, but has inferior micro-details, clarity, imaging and instrument separation.

Timbre is better on the Meteor.

The Meteor has better isolation, but has driver flex.


CONCLUSIONS

The $100 region is a really tough price bracket to operate at, with many big boys residing in this range, not only for hybrids, but planars and single DDs. The NX7 MK4's selling point, is of course the 3 tuning options on tap, that can convert it from a basshead monster to a detailed trebleheads' dream, or a mid-point compromise of a U-shaped tuning with above average technicalities. This arguably allows the NX7 MK4 to be more versatile than the competition.



The NX7 MK4 is well accessorized, with good build and top-notch comfort. It is also easy to drive, so users without a more demanding source won't be left out of the fun.

Having said that, there are areas for improvement. BA/piezo timbre is present, so timbre freaks may be dissatisfied with this department. Additionally, the soundstage is quite compressed, though good imaging make up for this. The NX7 MK4 also does have compromises in the red (treblehead) filters and black (basshead) filters - with it being too fatiguing and the bass being too slow/bleedy respectively.

Nevertheless, for consumers that want to savor a hybrid with tunable options at the $100ish mark, the NX7 MK4 definitely does much more things good than bad. It can also be considered that one is getting 3 IEMs with a single purchase of the NX7 MK4, in view of the tuning nozzles that do change the sound (and are not gimmicks),

As everyone has different levels of hearing health, what may be fatiguing on the red (treblehead) tuning nozzle, may actually be just nice for someone else, so it is nice to have 3 different tuning options in one's pocket, for various case uses. Thus, this versatility is a really delightful feather on the NX7 MK4's cap.

Thanks for reading and enjoy the music!