Shozy x AAW Hibiki Mk2

I first caught wind of Shozy way back 2014 with their Alien DAP which gained a significant amount of advocates and it was such a good time for Shozy that they made a Gold Edition for the Alien. Fast forward to 2018 and Shozy is still rocking but now they have AAW (Advanced AcousticWerkes) in tow, 1st with the original Hibiki and now the Hibiki Mk2 which we would be realviewing. Priced at $67, it offers what a blend of 2 audiophile companies can come up after working together, as they say, it’s sweeter the 2nd time around.

Thanks to DDAudio/Linsoul for providing the sample unit in exchange for an honest review, you can cop the Shozy/AAW Hibiki Mk2 from their respective Amazon and AliExpress sites. The Hibiki Mk2 takes its cue from its prior form the Mk1 which got a lot of attention on 2017. The Mk2 features a 10mm Bio Cellulose Membrane Proprietary Full Range Dynamic driver with a Frequency response of 20Hz to 40000Hz, Sensitivity of 102dB SPL@1mW, an Impedance of 18Ohm@1KHz and a 0.78mm 2-pin interface connector. The Hibiki Mk2 sure got it in paper of what it takes to be a great buy yet with the Mk1 still to be considered, will it be enough? Let’s find out.

Packaged in a clean white glossy box with a black flap box within, simple and clean, as all black and white packages go. Accessory set is straightforward, 1 set of single flange black silicon tips and then nothing, no pouch or a shirt clip which is really fine and we’ll get to why that is the case since most at the $60 range has at least a pair of foam tips or a shirt clip.

The IEM itself is a 2-piece shell/faceplate design which is made of plastic. The faceplate features a gorgeous shiny holographic carbon fiber finish with an AS logo which reflects light quite well while being lined with chrome giving a great breakoff point towards the large black glossy housing marked with L and R respectively which I personally think is too much for a single dynamic driver, the nozzle is unified with the shell and is short although it has a lip which made tip rolling a little bit easier. The 0.78mm 2-pin interface is recessed and reinforced with clear plastic against the black housing, tiny bits of details that provides more build quality points.

The included cable is made of 26awg copper and insulated with TPE rubber and is black ensuring a smooth transition from the housing to the cable itself, it has a great balance of flexibility and stiffness perfect for storing without retaining the folds. It also comes with a 3-button (pause/play-volume up and down) in-line mic control which worked great on my mobile phone when accepting a call. The cable uses a round braid below the Y-split and twisted towards the IEMs themselves, strain relief is minimal but the cable itself isn’t flimsy to really need too much of a strain relief, the in-line mic control even has strain relief, details again, details. There is a very well formed over-ear guide which features a plastic joint where the curvature starts, the over-ear guide though doesn’t sit too snug when used so occasional tugging of the cable to guarantee the over-ear cable doesn’t get off your ears. It uses the L-plug gold-plated 3.5mm plug with a black housing with a silver top. Isolation is mediocre despite the large shell size so securing the right ear tips is paramount. No major microphonic noise was observed when used on the go where a lot of movement happens.

I find it amusing that I didn’t had the chance to get intimate with the Hibiki Mk1 which would save me from feeling what I lost and gained with the Mk2. I made sure to have the Mk2 undergo the recommended 250-hour burn-in process for believers and non-believers alike. For the duration of the realview, I used the Final Audio Type E ear tips as the stock ones that give me great seal. I used an Opus 1, Xduoo x3ii as well as the Sony CAS-1 system all using 16/44 Flac files which I would mention along the realview. The Hibiki Mk2 emanates warmly soundwise and gives a focus on the low-end tonal spectrum which fits the on-the-go portable IEM target market it is aimed for.

Testing out the low end performance was Bruno Mars’s Calling All my Lovelies track which from the intro itself has an overload of sub bass and bass. The sub bass on the Mk2 is fat coupled with great extension for both the left and right channels. Bass drop is thumpy and transitions smoothly towards the midrange giving the Mk2 its signature warmth. Notable rumble is also observed.

The midrange of the Mk2 is its least favored frequency. Angela Bofill’s I’m On Your Side was used for the midrange performance which gives out sufficient loads of low midrange and midrange hits. The low midrange had great cohesion with the midrange and rendered the sound puffy which resulted in the midrange being laid back and making it sound soft and unnatural. Upper midrange has no extension and timbre is once again unnatural.

The Mk2’s distinct low end focus was clearly attempted to be mitigated and balanced out by boosting its highs and thank goodness it wasn’t overdone. Scorpion’s Under the Same Sun was completely tolerable using the Mk2, instrumental hits were distinct and clarity didn’t take a hit from the low end prowess. There isn’t your peaky highs IEM nor will it cause you any high frequency fatigue. Sparkle is observable on treble-heavy tracks which is still not harsh to the ear.

Intimacy is key for the Mk2. The large housing used on this IEMs although doesn’t possess great curvatures does a great job of providing passive external noise reduction at the expense of comfort. Soundstage isn’t wide which might not be too good for those not really into the Mk2’s low end focus although the imaging is on-point and harmonics are detailed and articulate, easy to identify horizontal and vertical orientation.

The Hibiki Mk2 is another love-child of Shozy and AAW which Shozy being the dominant parent giving it a much more friendly price. It is a solid buy for the portable audio fanatics, those who regularly use public commutes and are smack right in the middle of crowded and noisy environments with its distinct warm signature and non-fatiguing high frequency performance. It wouldn’t be too great for those with smaller ears with the Mk2’s large housing although the great cable and in-line mic control might still pull some through yet after all this I still just wish that Shozy and AAW thought of giving their love-child a pouch to carry around.

Shozy/AAW Hibiki Mk2

Disclaimer: B9Scrambler kindly loaned me a few in ears that I hadn’t had the pleasure of auditioning. I’d like to take a moment to thank him and if you haven’t checked out his blog yet, you should.

Unboxing / Packaging:

We can dispense with this section as I received them as just the earpieces and cable wrapped with a wire tie.

Build:

The earpieces are a fairly thick half moon shape with the nozzles angled at 45° out the front. Construction is plastic and the earpieces are lighter than I expected which does bring some durability concerns. With adequate care, they should provide years of service but if you are type to throw your in-ears in a backpack, this may be a consideration. The Nozzles do have a pronounced lip to hold tips and a better quality grate with circular ports arranged in a circular pattern rather than using a simple piece of screen wire. The inner surface of the shell is clearly marked R or L and has a small vent immediately below the label. This is of particular importance as the sound is altered by blocking this vent and its position makes it susceptible to being blocked by the ear. Faceplates are carbon fiber with the AAW and Shozy logos blended and a silver border around the edge of the plate. The one complaint I have regarding the shells is that both of the bi-pin connectors while nicely recsessed into the shells, show gaps along one edge (and it isn’t the same edge on both). I have tried to show that in the photos below. Whether these gaps go all the way through and alter the sound or are just unsightly is not something I was able to investigate as these were a loan.



Internals:

The Hibiki Mk2 uses a 10mm dynamic driver with a listed impedance of 18Ω and a sensitivity high enough to be easily driven by a standard phone or laptop. The paperwork does not list whether this is the same driver used in the MkI with a slightly different tuning or if the driver itself has been upgraded since MkI but all listed specs for both models are the same so I suspect only tuning differences and not changes to the biocellulose driver are involved in the MkI vs MkII.

Cable:

The cable packed with the Hibiki is the AAW Ethos and is 26gauge 4 strand copper with a 90º jack (which I prefer for portables and in ears). The strain relief is minimal at the jack so the 90º bend helps protect it where a straight jack might be more subject to breakage at that point. The aluminum backplate on the cable is a nice touch but couple have been amped up a bit by going to a matching carbon fiber plate. The braid is nice and tight up to the splitter and the twisted pair above the splitter is equally well done. The upper end of the cable has weighted earhooks that provide good strain relief and shape without the need for memory wire. I do like the indexing of the bi-pin connectors as the cable has a groove between pins on one side and the connector on the earpiece has a matching ridge to prevent installation of the cable incorrectly. This is a feature I would like to see more makes adopt. Overall the cable doesn’t seem to develop much of a memory and microphonics are kept to a minimum.









Microphone/Remote:

The cable has a 3 button remote on the right ear side in a smoked gray translucent housing. The order of the buttons may throw some people at first as the bottom is the start/stop with volume minus in the middle and volume plus at the top position. All are clearly labeled, but when worn the mic is close enough to the face to make looking at the labels difficult. Once you are used to the order, all worked as advertised with both iPhone and android phones that I tested. The microphone is positioned well and worked well for making calls but is susceptible to noise from movement or wind.



Fit:

The Shell on the Hibiki is large and sits shallowly in the ear which leaves a lot of the sides in open space. The size will cause fit issues for smaller ears. The forward rake of the nozzles does make fit comfortable for me as the nozzles don’t fit particularly deep but are still able to maintain a good seal. The downside is even with a good seal, the combination of the thin material used and the large exposed surface area makes isolation less than average.



Sound:

All of my listening notes are done with Auvio wide bore tips installed.

Bass:

Between the MkI and MkII bass seems to have changed very little if at all. Both had good low end extension with plenty of sub-bass rumble and a forward mid-bass that results in a bit of extra warmth to the signature. They have done a good job at keeping the bass in proportion to the rest of the signature so tracks that are not particularly bass heavy still come across as such, but the bass is the star of this show. Both also suffer from the same things. Texture is not particularly good and at times the driver can get overwhelmed by busy passages. Blues hand me down that I use for exactly this tests starts showing a bit of congestion and gets muddy on some of the faster runs.

Mids:

Mids are slightly recessed and some mid-bass bleed is evident. Clarity remains good and detail improves as you move into the upper-mids where the bleed is less overshadowing. Female vocals were slightly better rendered than male on most of the tracks I listened to. Male vocals tended to be slightly thick while female timbre seemed spot on or nearly so with several of the more difficult vocals to render well.

Treble:

The MkII is still treble forward, but some of the things that were most problematic about the previous rendition have been fixed. Gone is the sometimes harsh upper treble, replaced by a well extended but well behaved upper range. If there is a drawback to improving the behavior of the treble, it is that some detail is lost to doing so. The mids come across as more detailed than the treble as a result and at times create a somewhat odd dichotomy. Cymbals have lost a bit of their edge and are not quite as clean as they should be. While this creates a non-fatiguing in-ear, it wasn’t a trade off I would make as the air and sparkle are reduced when compared to others in its price class and even when compared to the MkI.

Soundstage / Imaging:

Probably the single most obvious difference for me between the MkI and the MkII is the improved soundstage on the MkII. The MkII has a wider than average sound stage with depth at or slightly over the average and gives much more of a feeling of space than the MkI. When listening to the Cowboy Junkies Trinity Sessions, on the MkI I felt like I was in a church, with the MkII I get more of a feeling of the Cathedral as the echoes and distance seem to come from much further away. Imaging is good but suffers some as things get busy as previously mentioned.



Thoughts / Conclusion:

The collarboration of AAW and Shozy has now yielded two generations of the Hibiki and both have their own merits. The MkII is making moves in the right direction in my estimation as it has addressed most of what were the largest concerns of the MkI. AAW has provided a cable that typically wouldnt be had on an iem at this price point otherwise as well. When judging the Hibiki MkII, I have to remember that its price point isnt $400 or even $200. It can be had for slightly over the $50 price point. While neither MkI or MkII is my preferred signature as both are bass forward and particularly mid-bass, I still think you get an awfully competitive iem and cable combination in the Hibiki models for the asking price. If you are looking in the Sub $100 bracket and like a V shaped signature, you should have a look at the Hibiki.

Greetings,

Last year, Shozy teamed up with AAW and released the Hibiki. It was a single dynamic driver earphone with a fun v-shaped signature, removable cables and stylish carbon fibre face plates. Today we're checking 2018's revised version of this earphone, the Hibiki Mk.2.

Let's dive right in to see why I think this is the version of the Hibiki that most deserves your attention.

Disclaimer:

Thanks to Lillian with DD Audio for arranging a sample of the Hibiki Mk.2. The thoughts within this review are my own and do not represent DD Audio, Shozy, AAW, or any other entity. There was no financial incentive provided to give this a positive review or otherwise. At the time of this review, the Mk2 was retailing for around 65.00 USD.

Amazon: https://www.amazon.com/High-Definition-Headphones-Dynamic-Earphone-Detachable/dp/B07F8PBVD3/

AliExpress: https://www.aliexpress.com/item/Sho...er-HiFi-In-Ear-Earphone-IEMs/32892590117.html

If much of this review seems similar to my Hibiki Mk.1 review, that's because it is. Much of that review was re-purposed and edited to reflect the subtle changes made to the Mk.2. Except for sound and comparisons. Those are fresh.

Source:

For at home use the Mk.2 was powered by a TEAC HA-501 desktop amp with my Asus FX53V laptop sourcing music. For portable use it was paired with an LG G5, Shanling M1, HiFiMan MegaMini, or HiFi E.T. MA8, all of which easily brought it up to listening volume. Like the Mk.1, the Mk.2 Hibiki does not need to be amped.

Personal Preferences:

I listen primarily to various EDM sub-genres (liquid drum and bass, breakbeat, drumstep, etc.), hip hop, and classic rock. While I enjoy a variety of signatures in my headphones I generally lean towards slightly warm with elevated treble and sub-bass, an even and natural mid-range response, with reduced mid-bass. The HiFiMan RE800, Brainwavz B400, and thinksound On2 offer examples of signatures I enjoy.

Specifications (from manual):

• Driver: 10mm dynamic
• Frequency Response: 20-40kHz
• Sensitivity: 102dB SPL@1mW
• Impedance: 18ohm@1kHz
• THD ≤ 0.5% @ kHz

Packaging and Accessories:

The Mk.2 comes in simple but elegant packaging, slightly revised from the Mk.1. On the front of the exterior sheath is an image of the earphones and some delicate text handling the branding. The organic design flourishes from the Mk.1's packaging has been removed, and image quality has been slightly degraded and is much darker, something that carries over to the rear where it is more noticeable. The sides, outlined in a broad silver border, contains the slogan “Chasing Aural Perfection” and notification that this earphone is a collaboration between Shozy and AAW, along with the new AS logo. The rear of the sheath contains an exploded image of the Mk.2's construction along with some limited specifications and a feature list. There are also images of with descriptive highlights covering the unique carbon fibre face plates, high quality Ethos Black 26AWG copper cable, the inline mic and controls, and the application of a recessed two pin removable cable system.

As with the Mk.1, removing the sheath and opening the lid of the non-descript black box within reveals a manual made from dense, high quality paper. Underneath is the Hibiki nestled securely and safely within a finely cut foam insert. The spare tips are set loosely within separate cutouts. In all you get;

• Hibiki Mk.2 earphones
• Replaceable cable
• Silicone tips (s/m/l)

I still think the packaging is nice, but the downgrade in image quality is a bit of a bummer for fans of quality packaging as I am. And my concerns about the included accessories remains. At this price point, some additional tip variety (foam, bi-flange, etc.), a soft carrying case, or at the very least a shirt clip is expected. The quality of the included tips is nothing special either, and are a common site among the extreme low budget earphone landscape.

Build, Comfort, and Isolation:

You will likely find yourself being drawn first to the carbon fibre face plates finished in a brilliantly smooth clear coat. Surrounded by chromed plastic borders and adorned with the new AS collaboration logo, they stand out and give the Mk.2 a commanding presence. It's a large step up from the faux carbon fibre you generally find around this price point. The rest of the housing is glossy black plastic. Left and right indicators are denoted by large capitalized L/Rs printed in white on the inside of each ear piece. I wouldn't be surprised if they wore off off after a while. Not an issue since the Hibiki is designed to be worn cable up and with each ear piece tailored to fit a particular ear. As with the Mk.1 Shozy recessed the Mk.2's 2-pin receptacles good 4mm into the housing. This limits 3rd party cable options but makes for a much more durable connector. Worth the trade off in my opinion.

The Ethos Black 26AWG copper cable is provided courtesy of AAW and is spectacular. The 90 degree angled jack is compact enough to fit in most cell phone and DAP cases, and is furnished with a classy brushed aluminum back plate. Leading up to the y-split are four tightly braided strands that split off into two groups leading to each ear piece. The y-split is a solid hunk of black rubber, above which sits a break-away chin cinch, one that's a little too eager to separate for my preferences. Leading up to the earpieces are pre-formed ear guides, weighted at the ends with large rubber strain reliefs that help keep them securely behind the ear. Last are the 45 degree angled, recessed plugs which feel very tough. About the only complaint I could levy at this cable is a lack of strain relief . Other than that, it's well constructed with minimal cable noise and next to no memory.

The Mk.2's shells are light and ergonomic, but just as with the Mk.1 are they ever enormous. The ZS10 from Knowledge Zenith uses a similarly shaped shell. With five drivers crammed in each you'd expect them to be large. Despite housing only a single dynamic per side, the Mk.2 is somehow even thicker making the ZS10 the more low profile of the two. Size aside, the Mk.2 also features a stubby nozzle, one which exits the ear piece at a greater angle than on the ZS10. For some this will be good, for me it was not. The stock tips were unusable since they didn't extend quite far enough to get a reliable seal. With the right tips, the Mk.2 is very comfortable but it sticks out quite a bit. You won't be easily hiding these when wearing them.

Isolation is the same as the Mk. 1, sub-par at best. Lots of noise intrudes if you're using them out and about requires an increase in volume to compensate, or swapping over to higher isolation foams tips,

Overall I like that Shozy moved to a glossy plastic for the housings. It tends to last longer, looks better, and is more durable overall. It is disappointing that they didn't try to alter the size at all. The Hibiki Mk.2 is still pretty massive for a single dynamic, though it is comfortable. Lastly, my sample ran into the same issues I've seen from others; the glue holding on the right faceplate lets go. Seems Shozy is aware of this QC issue and has resolved it so you shouldn't be worrying about that issue on your set.


Inline Mic and Remote:

The mic feels really nice in hand despite being all plastic. The smooth buttons feel right and the rounded edges of the housing comes across naturally in the hand. Depressing the buttons is met with a satisfying visceral response. The layout is little different than most with the larger multifunction button sitting below volume up/down, as opposed to being in the middle. It works well, leading to fewer mis-presses than I experience with other modules. While I didn't have the opportunity test with iOS, the controls functioned without a hitch on my LG G5 running Android 7.0

Regarding call quality, the Mk.2 is in my opinion a slightly step down from the Mk.1. Looking at the mic more closely, you can see they installed a new unit, one with a fabric dampener. This leads to the mic picking up less background noise which is awesome, but also your voice being even less clear than it was before. My callers did not appreciate it. The Mk.2's mic works fine in a pinch, but for frequent or extended calls it is far from my first choice.

Sound:

Tips: As with the ZS10, the large housings and stubby nozzles limited alternatives tol the stock tips. KZ's large Starlines worked fairly well here as did large Sony Hybrids, but I settled on medium Spinfits which gave the depth needed to get a reliable and comfortable seal. Since the stock tips didn't work for me at all, the effect Spinfits have on the stock sound signature is lost to me. That said, KZ's Starline tips tend not to affect sound at all and the Spinfits sounded nigh identical.

Treble on the Mk.2 has good extension with a presence that remains known at all times, yet without crossing over into being unpleasant or forceful. Micro-detail is still slightly smoothed over. Listening to Pink Floyd's “Time”, chimes are unnaturally emphasized compared to other effects like cymbals, but are not so abundant as to cause discomfort. I also found the cymbals slightly recessed this time around, taking on more of a background role than they should. While I think dropping the upper treble peak slightly was a good thing, the rest of the presentation should have remained where it was. On the plus side, this makes the Mk.2 even more pleasant on the ear for long term listening sessions.

The mid-range takes on a slightly recessed presentation. Where as on some earphones you get the impression of sitting right up against the stage and very close to the artists, the Mk.2 pulls you back and as such gives you some space. Listening to Felt's “Suzanne Vega”, Slug's vocals take centre stage and are the primary focus as they should be. Clarity is excellent with each note and word coming through crisp and clear, free of any tendency to sound muffled or smeared. This experience carries over to other tracks like Jessie J's “Bang Bang” where she, Nicki, and Ariana all sound distinctive and tonally correct, Nicki especially. A lot of earphones give her vocals a very shouty, nasal tone that is simply unpleasant. Not an issue with the Mk.2.

Bass is exactly as it was on the Mk.1 to my ears; big and brash with great extension and a fantastic balance. There is enough mid and upper bass to give music some warmth and weight, but it doesn't overpower the visceral sub-bass. Texture is not quite as impressive as what you'll get from TFZ's graphene coated dynamic units, but it's still quite good with notes showing solid depth and dynamicism. It's not an “always on” sort of presentation either. Where a track is bassy, the Mk.2 is bassy. Where a track requires subtlety, the Mk.2 nails it.

Last of all, sound stage. It is quite wide and open with the ability to fling sounds outside your head space. The positioning of the mid-range really helps to open it up further too, doing an even better job than the Mk.1 of surrounding you with your music or whatever media you happen to be using it with. I really like the way the Mk.2 portrayed the opening moments of Supertramp's “Rudy” which sets you in a train station. For an inexpensive single dynamic, the Mk.2 does a great job of sweeping those sounds around you, though they impress a little less if you happen to be coming from a well-tuned multi-driver setup like KZ's new AS10 which gives the scene greater depth and even finer movement.


Select Comparisons (Volumes matched with Dayton iMM-6):

Auglamour RT-1 (55.00 USD): The RT-1 and Mk.2 sound more alike than not, with similarly bass forward, v-shaped signatures. The RT-1's BA driver gives it a little more treble energy with a faster decay and more detail at the expense of control. The RT-1's mid-range is more dense and not quite as forward. Timbre is more accurate than on the Mk.2. The extra density to the presentation takes away from clarity and as such the Mk.2's mids sound more clear and intelligible. Bass on the RT-1 is more mid and upper-bass focused than on the Mk.2, and lacks the same excellent extension. Texture is greater on the Mk. 2 as well. The RT-1 has a more confined presentation with sound placement closer to your head. They image similarly well, with the Rt-1 sounding more layered but with weaker separation. I much prefer the Mk.2's presentation.

In terms of their physical qualities, the Mk.2 takes the cake here too. It's design is more mature and it feels more durable. Ergonomics on the RT-1 never felt quite right for me, and as such I spend a fair bit of time getting them seated properly compared to the Mk.2 which fits in place with zero fuss. The RT-1's cable is definitely unique and looks cool, however, in use it feels awkward and gets in the way. The Mk.2's more traditional braided cable works well, and without fuss.

Shozy Hibiki Mk.1 (60.00 USD): To my ears, the biggest difference between the Mk.1 and Mk.2 is how the mid-range is presented. The Mk.1's mid-range is set more physically forward putting vocals closer to you than how they are presented on the Mk.2. While I find their sound stages equally impressive, the Mk.2's set back mid-range helps give them more air. Treble on the Mk.2 also seems to have been dialed down just a touch. This was most noticeable when running them with Pink Floyd's time where chimes sounded less overblown through the Mk.2. Bass sounded nigh identical to my ears which is fine. The Mk.1 had a great low end that didn't need any adjustment. Sibilance isn't an issue on either.

Meze 12 Classics (79.99 USD): The 12 Classics have a more balanced, warmer presentation. Notes are slightly leaner leading to slightly more accurate imaging set within a deeper, but less wide and tall stage. The Mk.2 comes across less refined and not quite as nimble in the low end, but it's bass extension and sub-bass presence is more enjoyable to my ears. I also find it a touch more textured. The Meze's mids have mesmerizing liquidity and natural timbre to them that the Mk.2 can't replicate. Treble sounds more realistic through the 12 Classics as well, but the Mk.2 has more energy and shimmer.

The Meze certainly has a classier design with nicer materials, those being a combination of walnut wood and aluminum. Build quality is excellent and comfort is nigh perfect as a result of the shapely, traditional bullet-shaped design. The cable is another matter entirely. While I like the Meze's cable, microphonics are out of control, something you don't run into with the Mk.2. It's also no where near as flexible as the Mk.2's cable and I found it getting in the way when sitting down for a listen.

Final Thoughts:

The Mk.2 isn't much in the way of a departure from the Mk.1 and shares a lot of the same positives and negatives. Good is the improvement in shell materials leading to a product that looks and feels even nicer. Also good are the ergonomics which let you wear the Mk.2 for long periods, free of discomfort. The sound presentation has seen some improvement too in the way the mid-range is presented, spacing out the sound and giving it more room to breath.

Some things I'm still not fully on board with are the size of the shells. They're still massive, so smaller eared folks beware. Also be wary of the limited isolation if you're someone that frequents public transit and was planning to use these for that purpose. I'm not going to dock them much for the face plates peeling off as that has apparently been addressed, but it's still not something you want to be reading about as a prospective buyer. At least you know Shozy was aware and took action very quickly so you needn't worry about your Mk.2 having this problem.

My overall thoughts are this. If you already have a Mk.1, you don't need the Mk.2. You've already got a great earphone. Enjoy it and upgrade to something better somewhere down the line. If you don't have either and want to get in on this sweet Shozy action, get the Mk.2. While the differences are minor, they're worth the extra five bucks and make for a better product in the end. That said, if you really want a Hibiki and the Mk.2 isn't an option for you, you shouldn't feel bad getting the Mk.1 because it is still a wonderful earphone.

Thanks for reading!

- B9Scrambler

***** ***** ***** ***** *****

Some Test Tunes:

Aesop Rock – The Impossible Kid (Album)

Hail Mary Mallon – Are You Going to Eat That? (Album)

King Crimson – Lark’s Tongues in Aspic (Album)

King Crimson – Starless and Bible Black (Track)

Supertramp – Crime of the Century (Album)

Infected Mushroom – Legend of the Black Shawarma (Album)

Gorillaz – Plastic Beach (Album)

Massive Attack – Mezzanine (Album)

Fleetwood Mac – Rumors (Album)

Run the Jewels – Run the Jewels (Album)

The Prodigy – The Day is My Enemy (Album)

Tobacco – screw*d Up Friends (Album)

Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)

Michael Jackson – Thriller (Album)

The Crystal Method – Grace (feat. LeAnn Rimes) (Track)

Jidenna – Long Live the Chief (Track)

Skrillex – Ragga Bomb (Track)

Big Grams – Run for Your Life (Track)

Funkadelic – Maggot Brain (Track)

Aesop Rock – Fishtales (Track)

AAW-Shozy Hibiki Mk2-Second Gen to the front, please.



Having never personally heard the acclaimed AAW-Shozy Hibiki, I was intrigued when Lillian from DD Audio contacted me regarding a review of the Mk2. From what I quickly read (after saying yes of course), I was impressed by the collaboration, and the review findings. As part of a Head-Fi tour earlier last year, I was lucky enough to listen to the then TOTL AAW, along with a couple of others. I was mightily impressed, and almost pulled the trigger on the AAW W500. Indeed, I liked it a bit more than the flagship W900. Further impression of the A2H Pro, left me with good insights as to the sound AAW wrought from their lineup. Often when there are collaborations, the result is less than the separate companies. This would be a firm case against that, with both sides providing their expertise to a solid entry into the “mid” low-end priced IEM market. Once I found out that this was a true collaborative effort, I was anxious to delve into the Mk2.



The second iteration of the highly acclaimed AAW-Shozy collaboration. Lillian from Linsoul.com provided me the Mk2 free of charge. All they ask in return was a timely honest review. I would have it no other way. The Hibiki Mk2 can be purchased from Linsoul’s AliExpress (https://goo.gl/cDsFTU) or Amazon (https://goo.gl/zTSUYB) stores. As of this writing the manufacturers retail price was $65 USD.



From the Linsoul Amazon website:

-Impactful and Energetic Bass
-Airy and Specious Presentation
-Enhanced Resolution, Extension

-Specifications:

10mm Bio Cellulose Membrane Proprietary Full Range Dynamic
Single Sound Bore Design
Frequency response:20Hz-40000Hz
Sensitivity: 102dB SPL@1mW
Impedance: 18Ohm@1KHz
THD≤0.5%@1KHz
Connector: 2-pin 0.78mm
Plug:3.5mm

-What’s In the Box
Shozy Hibiki MK2 In-Canal Earphone
3 Pairs Earplugs (tips)
1 Usual Manual


Comparisons:

Advanced Sound Group GT3
Kinera iDun
TinAudio T2

MacBook Pro through Burson Play/iFi xDSD
Shanling M3s
Opus #2
Questyle QP2R
Aune M1s

Songs used:

Too bloody many to list all, but you want songs, so there you go:

Coldplay-All I Can think About Is You
Coldplay-A Message
Coldplay-White Shadows
Dona Onete-Sonos de Adolescente
Los Lonely Boys- Heaven (en Espanol)
twenty one pilots-Trees
twenty one pilots-Car Radio
twenty one pilots-Heathens
Damian Marley-Everybody Wants To Be Somebody
Damian Marley-So A Child May Follow
Damian Marley-The Struggle Discontinues
Ziggy Marley-Lighthouse
Ziggy Marely-See Dem Fake Leaders
Mark Knopfler-Laughs And Jokes And Drinks And Smokes
Santana w/ Mana- Corazon Espinado

Unboxing/Fit-n-Finish:

I always try the included tips first. After all, I would like to think that the manufacturer knows of what they think, therefore include the necessary tips. Most of the time though, I switch to my preferred foam tips (either Comply or my stock of Unique Melody). I simply prefer foam tips. They give me a better seal, and allow for head movement, which does not make the IEM move. Thus, there is no change of position, which can hinder my enjoyment and ciphering of these scribbles. It is just the way my ears work and very few times do silicons work for me. So, please judge my review based upon a solid seal with no movement of IEM within my ear.



Recently I read a review, which espoused the virtues of the unboxing venture when one does a review. I believe he called it similar to the initial impressions a manufacturer would like to make. While I agree, there is another with which I converse often who likes the simplicity of box presentation as he likes to think that the manufacturer thusly provides the majority of funding into the IEM itself. I understand both sides and appreciate both. A company might have two chances in which to impress: the unboxing and of course the sound. It is here that I lie closer to the later audio companion. My desire is a well-presented box, which while nice does not take away from the IEM itself. The Hibiki Mk.2 falls into that category. A very nice presentation, but one that does not make you think that the money went into a fancy box.

Simple and straightforward, you get a larger than life impression of the AAW-Shozy 2nd iteration on the cover, replete with the familiar Hibiki cursive script. Elegantly simple. The back continues this pursuit of simple elegance complete with simple sayings, picture and close up of the cable and exploded view of the single titanium 10mm dynamic driver of 10Hz to 23,000Hz range. Gold highlighting on all sides of the box accentuate that simple elegance. Think 1960’s modern house, awash with SE Asian artifacts overlooking a fine canyon, mountains in the background. Spectacular in its simple nature. Quiet strength.



Moving inward, the package opens like a Ray Bradbury classic. IEM cable stowed below, IEM’s tucked into their form-fitting slot nicely as the arch of cable leads one down into that “cable-canyon.” Tips acting like a waterfall adorn each side, like that natural falls inside the house. Good stuff, but not ostentatious. Removing the accordion-style user manual, much like a Triptych in the house (I whole heartedly thank my wife for that fine definition, I am so lucky).





Upon arrival of anything, after exploring the box (in quick fashion, to be revisited while listening) I always check fit and finish. Mostly fit. That way I can gauge placement in my ear(s) while providing an understanding of what I may need tip-wise (duh, already discussed that). Needless to say, the Mk.2 fit very well sticking out only a bit (not like others, but not as flush either), providing me a good seal and fit. No rubbing of my concha or lobe. I then start the critter up for an initial listen to make sure all works. Hooking the Mk.2 into the M3s, it did indeed work. I thusly proceeded to ignore the Hibiki for 3 solid days, except for making sure the Shanling stayed charged.

While I do believe in the power of initial listen as somewhat of a guide, how long will that critter-in-ear stay with less than an hour of use? Or 10? Thus, my belief is in providing you dear reader with a “burned-in” model more inline of what it might sound like after you have had it for a while. As such, I listen to Los Lonely Boys (oh man…) Nobody Else, in Spanish after about 60hrs of “use.” I can state, that to me there has been an opening of sound, with which many would agree comes after a DD opens up due to time. Some I have don’t. Some I have do a whole heckuva lot, then others do a bit. The Hibiki would fall into that latter category. Not that much change, but noticeable and for the good.



The 2-pin cable (my personal favorite) is somewhat stiff, but flexible. With good tactility, without being tacky (I hate that), the cable wraps easily, but does tangle a bit. Made of 26AWG copper, the cable does lend a slight warmth to the sound. But, since that is my pref, I’m good with that. Touted for daily commuters, The Hibiki lends itself well for durability of IEM and cable. A good start. One thing missing though, is a case. For almost any price, I expect a case. Even a cheap faux-cordura case, which cost $2 would be appreciated. This and another are two recent IEM’s bucking that trend by foregoing the case. While I do not really approve, I was able to find a decent case. But if you immediately want to utilize the Mk.2 for commuting, you would be wise to order a case at the same time.

Also, while the cable is nice and tactile, I often had to readjust the over ear guides to keep them in place around my glasses. A bit more weighting on the drop knob part would alleviate this. I do believe that area is too light.






Iniziale:

So, after that repertoire of breaking the Hibiki in, I was finally able to give a listen. And I will state that if most consider this an improvement upon the first iteration, then that first model must have sounded pretty darn good. The Mk.2 provided me with a decent bass reach on the Opus and Questyle, but more prevalent on the Shanling. That stands to reason as the first two are my “reference” DAPs as it stands. The M3s, my warm sounding critter.


One thing I will note while using the three above. Only with the Shanling M3s did I not have to use an adaptor, due to the TRRS jack. Using the Opus and Questyle, I was met with only the left channel working. Thus, I had to use the iFi iMatch in the SE position to achieve sound on the #2/QP2R. I guess you could say that I am not versed enough to understand why, and in fact contacted Lillian about it. It was only when I hooked the Hibiki back to the Shanling, that I understood. So, the iMatch or amped worked fine on the other two DAPs.

Impressed so far with the sound, I proceeded for further depth.



Further Depth:

With that extended-range Titanium driver, you would expect a certain level of detail in the sound to be present. One will not be disappointed with the Hibiki Mk.2 in that regard. Each layer of instrument in Texican Style is present and accounted for. You almost forget that until Henry’s guitar screams the solo at you from all around your gray matter, complimenting his vocals while Jojo and Ringo happily come along. Man, what a group. A nice surprise, indeed.


Bass while on the light side, is impactful and reaches fairly deep (tip dependent) with decently fast decay so as not to impede the guitar licks of whatever your pleasure. When needed, the bass shows itself, but is never bossy in nature. I appreciate this bass quality but wish for more quantity. Certainly not bass-shy as some IEM’s can be, the want for more is there for me. Again, this is good bass quality, but more of it would have heightened my appreciation for the 10mm dynamic driver.


The mids are the highlight to me. Full, rich and layered, the tie between the treble on one end and the aforementioned bass down low are held by that mid quality. Not forward, not shouting LOOK AT ME, the mids present very good male vocals, while the guitar licks slip into that same vein. Outlaws show this well. Guitar support equal Willy Nelson’s guest voice, as Jojo hammers away on harmonica. This is downhome goodness of mid, finished by Henry’s solo at the end.



While the treble may not take center stage, which is fine in my book; that upper reach of guitar and music is detailed enough to allow the finer points to show. This is not treble-shy by any means, it is treble well-done in my book. Thorough reach, without sibilance and brittleness allow me to enjoy that sound. This is amongst the better treble sound of any recent memory, and almost matches the Simgot EM5 in my opinion; which has exceptional treble quality in my book. When one considers the price difference, this is a very good accomplishment.


Cymbal clash and drum stick rimshot are present, placed well and detailed. Supporting the bass well, it is here where the sound becomes evident that there is a slight V-shape. Not much (to me), but noticeable. Again, not bad, as sometimes I prefer a V-shaped sound. Nothing sibilant here, move along.







Other:

There is a slight out of ear experience with sound stage here, but to me the height of sound highlights the presentation, almost like looking up into a majestic cathedral. I do believe this comes at the expense of depth, as to me this seems a bit shallow fore/aft. Not a bad presentation, overall. Not intimate small club. Not large stadium sound. Just about right for the sound presented.

And with that sound, comes reasonable layering and instrument separation. While the instruments can be clearly heard, there is a bit of discourse as to where those actually reside. Not anything disconcerting mind you, but simply not as accurate as some I have heard lately. This seems to play into the motto of daily commuter of which Shozy espouses. In a noisy situation, this frontal-ness of sound is a benefit in those loud situations. And this certainly isn’t a noisy muddled mess of commuter sound. Just one companies version of commuting bliss.

That said, when (Da Le) Yaleo comes on, Carlos guitar keeps things nice and sharp. Separated nicely, this shows the versatility of the Hibiki. Able to be almost intimate as needed, and almost airy when needed, the Mk.2 is versatile.



Comparos dujure:

As previously mentioned, I had issues when using the Hibiki through the Opus and Questyle without help. But, once I hooked the iBasso PB3 to the Opus #2, I quickly found a very good match. The faults listed above, seemed to all but vanish as the quality of the Opus was allowed a compliment with the iBasso. This was an excellent match indeed. You might certainly say (with good reason) that it was overkill utilizing such lofty equipment with the Hibiki, but to me this showed the true versatility of the Mk.2. Able to scale well with much more expensive equipment (albeit with trial and error) the Hibiki started to show its true worth. One would certainly be able to take the PB3/#2 as a commuting pair. And here the Mk.2 would happily accompany.

As a stand-alone though, the Shanling M3s provided the best inexpensive sound. I mentioned on an Instagram post how for sub-$300 you could have a very good commuting set. And this is where many will look. Not wanting to take their home-based gear, the pair would be a fine set for kicking around the city. Slightly darker of tone than the set mentioned directly above, the bass is not as sharp, detailed or deep. But with everything there is a cost, and that cost is a density of warmness, which could thaw a glacier in mid-winter. I expound “a bit” of course, but the cliché is not lost, once you hear the pair. I have many that would pair nicely with the Shanling on a to-go set up, and I would concede that I now must add the Hibiki to that list.

Last (and shortest) the Questyle QP2R aided in the quality sound of the Mk.2. It is now my reference DAP, replacing the already excellent #2, but it is worth that placement as I now yield to that decision. Clarity of sound would define this pair, losing that bass touch, which the other pairings present. But with that clarity comes an open airiness to the instrumentation, which brings out the best in the Hibiki. Not one to pass this up, I hook the pair up together to verify. Rose from Los Lonely Boys verifies that crisp sound. The Hibiki sounds very good here.

Moving on to other IEM’s, I had to think about what a good fit might be against the Hibiki. I have some very good quality additions, as well as some older standbys with which to choose.

Costing twice the price, the Kinera iDun has beauty oozing from the cable and wood face. It really is quite exquisite at which to look. Easier to drive than the Hibiki, it has deeper reach of bass, as well as better control. There is definitely more up top as well. The sound stage is not as tall, but deeper. Width about the same, with the edge going to the Hibiki in my opinion. So, what does the Hibiki have, which would place it above the iDun? Portability comes to mind, first. I would be loath to use the iDun for commuting. Not because it may not be up to the task, but because it looks so darn good, and that wonderful cable is not only shorter, but does not have a mic. Add in that the cable may tend to stick or catch on something and that is a chance with which I am not willing to gamble.

Moving on to the Advanced Sound Group GT3, this may seem an even less likely comparison. But I posit that the GT3 is made for commuting, what with its bullet shape and ease of use. The only thing lacking is a mic cable, which can be easily changed with the MMCX cable. With a more forward sound, I mentioned in my review that while forward, the mids still do not shout at you. The Hibiki owns the bass quantity on the GT3 as well. Quality though, goes to the higher priced critter. Among the higher quality I have heard recently, it is a bit shy for my taste. Needless to say, that the Hibiki/GT3 would be a good companion pair, something I have embraced often lately. One cannot have too many IEM’s after all. As much as I like the Hibiki mids, I prefer the GT3 a smidge more. Both are good, but the GT3 a bit better.

Matching the price, and definitely in the same range would be the TinAudio T2. Matching capabilities very well, I called the T2 “quite pleasant in which to listen.” And, “With mids supporting each end, the bass almost matches what I like.” I found the T2 a good bargain at the $50 price point, and I still feel that way. With easy fit, the sound is not offending in any manner. I feel the same with the Hibiki. What sets the Hibiki ahead, is a more durable cable and better fit. The T2 is made of metal, and while good, fits more into the earbud realm, as it wears well with the cable down. Something I do not really care for, but only an option as you can just as easily wear them over-ear. Both have good presence, but I would find for the durability of the Hibiki here.



What’s left?!

So, we reach an end (hopefully you stayed with this…). An end that may be a beginning for some (in their search for higher quality in-ears, and this would be present here). An end, which may result in an end (as in I’m done! I’ve found what I am looking for!). Others may have the desire to add to their collection. All of the mentioned apply here and would be worthy of mention. For in the AAW-Shozy Hibiki Mk.2, you have a very capable IEM, which would come along quite happily on your daily commute, or a romp around town. A plus would be you need not worry about durability as the cable while thinner than others is plenty strong and capable of taking abuse. A bonus is its use as a remote and mobile addition. Call quality is very good (really, what cable isn’t in this day…), with little wind noise and a well-placed unit. The Hibiki is more than capable on your daily travails and weekend excursions. The Hibiki Mk.2 should get a look from you in you are in the market for a lower end mid-fi with multiple capabilities.



I want to thank Lillian from Linsoul Sound for providing the review unit. I very much enjoy the Hibiki and hope you all give it a listen. It just may be an addition to your stable.

Shozy x AAW Hibiki Mk2 IEM



The Shozy x Advanced AcousticWerkes Hibiki Mk2 is the latest revision to their Hibiki line of IEM earphones. The original was released in 2017, while a newer Special Edition/Limited Edition came out more recently priced at almost double the original. This latest version, the Mk2, takes the driver changes from the Special Edition and puts it in the old housing with a little bit of updated treatment.

The plainweave carbon faceplate has a different signature on it. Replaced is the “Hibiki” model name with the updated “A-S” logo, signifying the joint venture between the two companies. The back side is now a shinier, smooth appearance versus the matte appearance of the original.

I never listened to the original or the special edition models so I am going into this without any prior bias.

Disclaimer: This item was provided to me by Lillian of LinSoul to review without bias. I was not paid to write this review and also don't make any money on advertisements or anything. This is just my unbiased opinion of these headphones after listening to them for a week every chance I had to listen to music.

Hibiki Mk2 on Amazon:
https://smile.amazon.com/High-Defin.../dp/B07F8PBVD3/ref=sr_1_1?&keywords=shozy+mk2

Hibiki Mk2 on AliExpress:
https://www.aliexpress.com/item/Sho...er-HiFi-In-Ear-Earphone-IEMs/32892590117.html


Unboxing of the package

Accessories:

The packaging comes in a neat book-like box which opens up to show the IEMs, the cable, and 2 additional sets of silicone eartips. The smallest tips were pre-installed in my package.

The included cable is a detachable 0.78mm 2-pin cable that is well built. It has angled connectors and pre-hooked heat shrink wrapped ends. The heat shrink is tasteful as well as the black braided cable. On the right side, there’s a three-button microphone in a dark translucent housing. The buttons allow for volume up/down and play/pause. It reminds me a bit of the cable that comes with the Noble Audio IEMs.

I admit, I have not used the microphone and controls yet. I’ve been mostly using this headphone with my own set of 2.5mm balanced cables.


Hibiki Mk2 on the tiny ears of the MiniDSP EARS unit

Build & Comfort:

The IEM itself features a 10mm “ultra-thin layer titanium diaphragm with neodymium magnet driver.” For being a relatively large driver and larger shell appearance, the IEM fits very well in my ears. The half-moon shaped plastic body is extremely lightweight and fits the contours of the ear opening quite well. The bore goes in medium depth or so and never feels tiring or heavy and I’ve had very little discomfort wearing these, something that is uncommon for me with IEMs.

The seal on these is pretty good. Isolation isn’t completely silent from the outside world, but it’s a big step up from the popular Tin Audio T2 which has medium (at best) isolation. These do not compete with Etymotics or the Campfire Comet or Massdrop Plus for isolation, but it’s a step behind them.


Frequency Response of Tin Audio T2 (blue) and the Hibiki Mk2 (red)


Total Harmonic Distortion (white) of the Hibiki Mk2


Sound:

Just a heads up. I listen to many different genres of music – everything from rock to rap to country to jazz. I primarily listen to indie rock, post-rock, downtempo, folk, jazz, and bluegrass/country music. I love buzzing guitars and steel pedals. My favorite bands are Radiohead, Sigur Ros, The Beatles, and Explosions in the Sky. This review encompasses listening of many of these genres and bands.

I posted a frequency response chart of these above. They look fairly neutral overall in the chart; however, I would say these are bass-leaning-warm and mid-centric, which doesn’t really show up in the FR chart produced on my MiniDSP EARS.

Bass:

The bass on this headphone has some weight to it. On some tracks, the bass can be very impactful and hovers on being muddy. I suspected this was due to output impedance and decided to use it with an iFi IEMatch with my Onkyo DP-S1 DAP and it seems the bass is tamed down a bit from the sometimes-uncontrolled nature exhibited without the attenuator.

With the IEMatch:

Overall the bass is present and always lets you know that it is there. It has some occasional heft to it and can be loose at times though, but never sounding as muddy or bloated (though still present) as was heard when output impedance matching wasn’t optimized. The mid-to-upper bass is on the warmer-side of neutral and is generally pleasing and gives this area some weight without being exaggerated.

Mids:

When moving up to the mids – these things have the potential to really shine. The mids are smooth and clear. Vocals really are accentuated and are the center of attention on most tracks. Both male and female vocals sound natural, detailed and accurate. Female vocals are sibilant-free and smooth. The upper-mids are a bit overbearing at times though especially at higher volumes and can be fatiguing to my ears.

Treble:

Moving on up, the upper range is tame and clean though treble does seem to roll off quite a bit in the upper range. This is also shown in the graph. Again, sibilance isn’t an issue here as mentioned earlier, and there’s never any fatigue due to the higher frequencies.

The other sound stuff:

As far as soundstage – the IEM places you front and center at an intimate concert. Like I said before, the vocals are the attraction here and they standout. The narrow stage makes every instrument seem a tad congested at times and also making all instrument depth seem like they are on the same plane.

But occasionally I’ll hear a part of a song where strings are trailing off the in the background and it blows my mind. So, it’s kind of a mixed bag, but overall, I feel like the biggest downside for this IEM is that instrument separation and depth is really tight and narrow – making everything seem very…. Loud.

Imaging and positioning aren’t an issue with these though, as long as there’s not too much going on in a particular song. At the Drive-In, for example, is pretty frantic and congested sounding, while listening to Chan Chan from Buena Vista Social Club is very engaging and detailed. Some of that is due to the song itself, but again, I don’t believe these handle frantic songs where many things are going on at the same time (loudly) very well.

Of course, this may just be a case of preference. I like headphones with medium to wider soundstage with good imaging and depth. Most headphones that are incredibly intimate don’t appeal to my senses but when listening to stripped down music, they do work wonders.

EQ does help bring down some of the annoyances I had. I reduced the 1Khz-3Khz region a few dB and increased the treble region up. Luckily, they seemed to respond pretty well to these modifications.


Overall:

The Hibiki Mk2 does vocals wonderfully. They are smooth and the center of attention. The mid-forward sound signature really makes the vocals stand out and thankfully, they do it well enough that these would be great for users who love listening to music where voices are king.

On busy tracks, the smaller width can be overwhelming with instruments and voices blasting at equal volume – causing the music to shout at you. It’s the biggest flaw for this IEM in my opinion and something that doesn’t appeal to my personal tastes.

These things are also very comfortable and did not agitate me like many IEMs do. I didn’t get a chance to tip roll on these because I surprisingly found the stock tips very comfortable to wear.

As far as a recommendation – from my experience – this IEM does seem to get carried away in the mid-bass region when using devices with higher output impedance, which is unfortunately the case for both my desktop headphone amp and my DAP. Luckily, the use of the iFi IEMatch seems to rescue the IEM from the unevenness and muddy bloated mid-bass experienced without it.

This does seem like a unique IEM in this price range though, as it is mid-forward as opposed to many V-shaped headphones out there.

The popular competition:

Versus the Tin Audio T2

The differences in the upper-mids in their FR response really does appear on these IEMs when pitted against each other. The Tin Audio T2 is overall very balanced and neutral, with no single area standing above the other. The Hibiki Mk2, on the other hand, is again, warmer with more booming bass and forward vocals. The soundstage width of the T2 is wider than the Hibiki Mk2 and imaging is better. Vocals on the T2 are harsher though, with some rare cases of slight sibilance on female vocals whereas the Hibiki sounds much more natural and cleaner.

Previous Review: https://www.reddit.com/r/headphones/comments/8ve7vf/tin_audio_t2_thoughts_and_such/


Versus the KZ ZS6

The ZS6 is V-shaped IEM but has very good clarity due to its emphasis in the treble range. Both IEMs can exhibit the occasional emphasis in bass though the ZS6’s bass slams more, however the Hibiki has a warmer sound overall as well as provide some greater texture. For width, these are polar opposites with KZ ZS6 being wide and the Hibiki being very narrow in comparison. The treble on the ZS6 was the dealbreaker for me as it was exaggerated too much that caused sibilance and heavy fatigue very quickly. The Hibiki’s treble is rolled off and extremely tame in comparison, with no signs of sibilance to be found and its overall warm sound signature is more pleasing to the ears. The added boost in the upper-mids in the Hibiki cause it to be fatiguing for a different reason though, but its by far the lesser of two evils.

More Charts!





Links:

Hibiki Mk2 on Amazon:

https://smile.amazon.com/High-Defin.../dp/B07F8PBVD3/ref=sr_1_1?&keywords=shozy+mk2


Tin Audio T2 on Amazon:

https://smile.amazon.com/TIN-T2-Dyn...8&qid=1533326294&sr=8-1&keywords=tin+audio+t2