SOFTEARS VOLUME S

Softears Volume S

1x DD with active and passive driver, 2x BA
RRP: $319



Introduction

It is probably somewhat fair to say that I am a self-proclaimed Softears fanboy, and this is mostly due to the wonderful Turii Ti which remains my ‘GOAT’ single dynamic driver three years later – to really underline this point, my love for the Turii Ti at the time actually led to me parting company with both the Traillii and Jewel, a brave move but not one I regret… for the most part, I have debated dipping back to the Traillii at times. I have also owned and loved the excellent Twilight, and most recently had the pleasure of becoming familiar with both the Volume S and Enigma, the latter being the subject for my next review, but for now, I will dive into the Volume S… which btw as will become evident in the review, continues my fanboy appreciation for Softears!

Softears sent me the Volume S in exchange for a review, as always, all thoughts and words my own. Thank you to Softears for the opportunity!

Volume S is available from Musicteck HERE



About Me

I worked in the consumer electronics industry for a large part of my career and have been passionate about music and technology for as long as I can remember. Even as a small child, I would ask my mum to put records on the turntable (Abba, Supertramp, and Planxty if anyone is curious).

My music preferences are very varied—anything from classical to techno, indie rock to jazz, and everything in between. In my early teens, I was a big fan of bands like The Cure and The Smiths (still am all these years later). I was bitten by the dance music bug in the early 90s, becoming passionate about genres like techno, house, trance, and IDM. I amassed a huge collection of records and CDs, DJing at various parties and occasional pirate radio station slots. Although it remained a hobby, I still own thousands of records, and my trusty Technics 1210 turntables are still going strong 30 years later—a testament to Japanese engineering!

I am not a professional reviewer, just an enthusiast who loves music and the devices we use to listen to it. Over the last few years, I have become obsessed with IEMs and related gear. I've bought and sold many, and kept a select few—ranging from the $20 Moondrop Chu to kilobuck sets like the Aroma Jewel, Oriolus' infamous 'Traillii,' UM Mentor, and various beloved single DDs. Through this exploration, I like to share my thoughts with the Head-Fi community, hoping they might be useful to others. However, remember that this is a highly subjective hobby, and your mileage may vary.

While I've been fortunate to own and try a variety of the TOTL sets on the market, I honestly enjoy lower-priced sets as much - especially as the gap continues to close, many much cheaper sets now offering significant value and further driving diminishing returns.

I’ll admit I do suffer from happy ears—rarely do I find an IEM that I genuinely dislike. At this stage, there are very few truly "bad" IEMs; it all comes down to individual preferences. Since I listen to such a wide variety of genres, I almost always find synergy with some part of my library. Where I tend to deduct marks is in areas like value for money, poor accessories, or an uncomfortable fit—things that can detract from the overall experience.

About Softears (from their ‘About Us’)

A Chinese brand focused on technology, R&D, and innovation Is a young but experienced company. The founder started working in audio in 2014, the studio was founded in 2017 in Shenzhen, China’s Silicon Valley, and in 2019 set up an independent lab for R&D and our own factory in Chengdu, a Humanistic City. Softears wants to bring you a soft and comfortable, balanced and durable listening experience. We are committed to research and development of loudspeakers and tuning equipment, with excellent manufacturing process and excellent quality control, pride in excellence is our brand way. We pour all these efforts to make ourselves capable of producing a true hi-end product meticulously, we swear by it.

Specifications:

Impedance:
Mode 1: 31.2Ω@1kHz
Mode 2: 9.8Ω@1kHz

Sensitivity:
Mode 1: 114dB/Vrms@1kHz
Mode 2: 124dB/Vrms@1kHz

Effective Frequency Response: 20-20kHz (IEC60318-4)
Frequency Range: 8-40kHz (1/4' Free Field, -5dB)
THD: ＜1%@1kHz
Shell: Medical-grade resin + aluminium alloy + carbon fiber
Drivers: 10mm silicone diaphragm dynamic driver + 6mm wool paper diaphragm passive dynamic driver + 2 balanced armature drivers
Cable: Interchangeable 3.5mm/4.4mm plugs, 2pin 0.78mm oxygen-free copper braided paracord cable

Unboxing & Accessories

Nothing overly special here in terms of the unboxing – reasonably straightforward flip open the box, and you are greeted quickly by the IEMs, an accessories envelope, and the case.





Accessories

An impressive selection of accessories on offer here, to include even a protective mesh for the IEMs when not in use, which interestingly doesn’t come with the significantly more expensive Enigma. In addition you get a selection of silicone tips in S/M/L, and also the UC tips that Softears appear to now include as standard with their IEMs – think Alza Crystal if you aren’t familiar with the UCs.

Cable

I love the look and feel of the cable, it has a premium corded style finish with a nice amount of weight. The modular system for 3.5mm and 4.4mm is excellent, with a screw on system to secure. On the downside, I do find the cable quite microphonic if out walking – a relatively easy fix though is to secure the chin slider up to just below my neck.





Case



The case is nice and has plenty of space to store the Volume S along with the protective mesh and included dust cloth. I would like to have seen a storage net on the inner lid, something I now always use to store some spare tips and even other bits and pieces such as smaller USB cable or a spare microSD card (in a full size SD adaptor).



It is quite a big case which tends to be the theme with most IEMs – still one you can easily pop into a laptop bag or something, but perhaps a touch large for a typical pocket in jeans.



Comfort & Fit

These are incredibly comfortable IEMs, just pop them into my ears and ready to go – no messing about to fit a secure fit. The nozzle isn’t too wide, but does have reasonable length, but certainly nothing overly intrusive. While there is no lip or edge on the nozzle, I’ve had no problems with tips such as the Acoustune AET07 staining on securely.



They are rather light weight too so combined with the smooth edges, and indeed tuning which I’ll come on to next, the Volume S are the sort of set that can be worn for very long sessions.

There is a slight recess for the 2-pin connection on the shells which I am delighted to see, not enough brands do this and I can never understand having flat 2-pin connections, and then supplying a cable with 2-pin plugs designed to plug into the recess input. Having this recess not only looks tidier, but also feels more secure.



Listening Impressions

Volume S is the sort of set that’s hard to fault, and very easy to love. The tuning and tonality is warm and captivating, delivering musicality in bucket loads. Everything just sounds ‘right’ to my ears, from the low through to the highs – and the extent to which technicalities present themselves, offering up enough detail retrieval to hear those smaller nuances such as guitar strums or a vocalist taking a breath, but yet remaining focused on a cohesive, refined, and highly engaging presentation that still rises up to perform for those more energetic tracks too.



I have tried the high impedance setting a couple of times and not for me – it just becomes a touch too harsh and I always quickly flick back to low. On that basis, this review speaks only to the low impedance setting.

Low Frequency

While Volume S won’t be considered a ‘bass-head’ set, the use of both active and passive in the dynamic driver certainly delivers a solid foundation of bass that is very much the bedrock to the overall sense of warmth and density in the tuning. My first experience of a passive driver like this was with the MA ‘Eclipse’ and what I found with that set, I hear again now – that is a high-quality, visceral bass presentation that has a real physicality about it – it is distinct, but never obtrusive, and the quality really allows nuances to shine through such as the reverb of strings on a bass guitar. Sub-bass does roll off slightly, and there is a bias towards mid-bass – the opposite of my usual preference but it works well for the overall tuning profile, so I will forgive I do hear quite a large impact when the mid-bass is called upon, especially with say more booming kick drums. I think it is due to the active/passive design, but the bass has that sensation of like what a subwoofer provides – very distinctive and again, visceral in delivery.

Midrange

The mids have a full-bodied, somewhat lush presentation yet still with excellent clarity. Vocals sit a touch forward, and again that sense of weight provides a highly realistic presentation. The upper mids hit a nice sweet spot for me where they allow instruments and vocals in this region to reach a nice height, yet without becoming harsh – that coupled with the full-bodied lower mids really do ensure that I can comfortably tick that all important ‘emotive’ box

High Frequency

Treble rolls off somewhat, not the most sparkly or airy in this region so those of you who lean more treble-head might be left wanting here. I would describe as smooth, but yet still sufficiently detailed and again fits with the overall profile of the tuning – smooth, engaging, and emotive. But just to emphasise again, even with this more subdued region, you still get sufficient detail representation – it is very tastefully tuned.

Technical

While I’d not quite go as far as to describe as holographic, it’s not a million miles away and very impressive considering there’s not a whole bunch of drivers squeezed in here – the layering really does give a sense of multiple dimensions to the music, but still in a cohesive presentation. The imaging is also very good, but I wouldn’t say super-focused in this regard, I find the overall tuning ethos with Volume S really does focus on the bigger picture of pure musical enjoyment. Details are there should you choose to focus on them, but I find my attention is typically more drawn to the overall experience… a beautiful, embracing signature with excellent realism, and those many buckets of emotive sauce when the music calls for it.



Tracks

Apta – Sink



This opening track from the excellent album ‘The Pool’ is a great example of how Volume S renders numerous layers of instruments, giving a real sense of music being both inside and outside your head – this is something I usually associate with several drivers, but Softears have pulled it off with a modest 3 and bit.

Dron – Hunting



A somewhat industrial-infused bit of IDM, with an electro slant too. This showcases how a set can handle something a bit more abrasive, and with quite a bit of percussive complexity along with many layers of almost aggressive synths. Volume S manages to hold up incredibly well with excellent clarity and pace – again with a large stage that presents both inside and outside my head, yet still emanating from the centre. This is certainly not a relaxing track, and in the wrong IEMs can be a challenging listen – Volume S does a great job of keeping everything in check, albeit still on the cusp of danger perhaps…

Four Tet – Storm Crystals



I bought this a while ago but only started listening recently, a busy time of life for me over the last few months and even with topping up my Bandcamp library, I’ve left quite a few ‘on the shelf’ so to speak… better late than never though, as I’ve been loving this album over the last week or so. The clarity is again very evident, and I do note that the upper mids aren’t too far away from my personal danger zone – I feel like I’m about to wince here at times with the occasional stabbing synths, but kept just at bay – only just. Percussion has a wonderful realism and even with the somewhat subdued treble, the hi-hats have a nice shimmer and support that wide sense of stage.

Mount Kimbie – Dumb Guitar



I ended noting the percussion of the last track, and I’ll start by noting it again here in a very similar way… it has that realistic presentation, fantastic timbre which for my ears just sounds ‘real’. Vocals again sound realistic with a good central / slightly forward position, with good density. It’s a busy enough track with the combination of drums, vocals, guitars and synths but I don’t find any sense of congestion during even the busiest of passages.

Basic Channel – Phylyps Track



On to some rather banging techno from the dub techno masters, Basic Channel. This is a classic from the 90s and a good test to hear the impact from the kick drums – they aren’t boomy kick drums in this track, but still sufficiently distinct and certainly well represented here. The synths lean slightly aggressive at times, but nothing too harsh. The lower registers of synths rumble along nicely, again giving that sensation of a subwoofer at work.

T.R. Jordan – Encoder Error



My favourite track from the utterly brilliant ‘Dwell Time’ – an album I now consider in the upper echelons of my ambient albums. I’ve listened to this albums countless times, often as I go to sleep or when doing admin work and I want something soothing in the background that doesn’t distract. This is the sort of track that really hits hard from an emotive perspective, a soul-touching piece of music that Volume S captures wonderfully – I’ve noted how the mids tick the emotive box, and that is clearly evident with this masterpiece.

Comparison

TSMR ‘Armor’

I chose this set as it sits at a similar price point, and also a set I’ve found to be a great all-rounder with a smooth, engaging profile. I haven’t listened to it for a while, so this was a good opportunity to revisit.

Armor immediately sounds more intimate in comparison, and I note a flatter stage that while has good width, definitely steps back in terms of depth vs Volume S. The upper mids are safer also, I can hear with ‘Phylyps Track’ that the synths don’t quite stab as aggressively – Armor has an overall much smoother profile… but that doesn’t surprise me, Armor is one of the smoothest sets I’ve tried. Loading up ‘Glue’ by Bicep, and Volume S sounds much more energetic in comparison, and I note also that subwoofer bass delivery – I think this is certainly part of the overall wide/deep sense of stage with Volume S.

While both have an emotive and smooth leaning profile, Armor definitely is the significantly smoother of the two.

Conclusion

So there you have it – I noted my fanboyism at the start, and I’ve no doubt that was evident throughout. There are only a few brands I quite honestly say that about, and Softears without question join the likes of DUNU, DITA, and Sony to name just three that fit the bill. While the Volume S is a veritable all-rounder, it raises the bar in the price segment by at the same time being a superbly tuned set that in my experience allows almost any music to shine with immense beauty – that coupled with the incredibly comfortable shells allows for endless hours of listening pleasure. Some tracks can hit a bit of a upper-mid danger zone, but in my experience that has been only very few, and indeed tracks that are quite risky to begin with.

Softears interestingly share with the likes of DUNU and DITA the same slower approach to the market, where they only release something every couple of years – taking time to perfect the product, which to me appears to be a real labour of love.

Softears Volume S Review: PERFECTLY IMPERFECT​

Total Score: 6.13/10​

Enjoyment Score: 6/10​

Price: $319​

PROS:​

• Unique warm mid-centric tuning
• Rich note weight
• Lush but well-textured bass
• Inoffensive treble
• Large but comfortable fit
• Tuning switches that actually make a significant difference
• Good accessory inclusions

CONS:​

• Odd, inconsistent timbre
• Shout-prone (especially on high impedance)
• Resolution is poor for the price
• Sound can be too intimate at times
• Cheap build quality
• Microphonic cable
• No labels on the tuning switch

WHO THIS UNIT IS FOR:​

• People who like a warm, lush but vocal centric sound
• People who enjoy a snug and comfortable fit
• People who like an intimate sound

WHO THIS UNIT IS FOR:​

• People who want a resolving IEM
• People who want an IEM with consistent timbre
• People who want a more premium build and more practically designed tuning switch

GENRES:​

• Live Recordings
• R&B
• Soul

SHORT REVIEW:​

An IEM I swear I know I would’ve fallen in love with based on people’s comments and the graph and one that stands out for being one of the few properly midcentric IEMs in the lower midrange price bracket. The accessories are great and the fit is comfortable. Unfortunately, inconsistent timbre that makes it hard to enjoy listening to anything outside of bass-centric tracks and its rather cheap build with annoying to navigate tuning switch puts this IEM as a “what could have been” in my books. RECOMMENDED WITH CAVEATS

FULL REVIEW​

What I love about audio gears is just how small factors can greatly affect one’s listening experience. For the most part, the environment, preferences and the physical construction of the devices make up how we enjoy these audio gears. So when you see something that ticks all the boxes for a gear you like, you’d be intrigued by instinct.

But what happens if this gear doesn’t strike you the way you thought it would? How does that change the way you perceive your own preferences in audio?

TURN UP THE VOLUME​

This is not my first run in with Softears, believe it or not. A while back, I got to review their highly underrated Studio 4.

All BA and one of the smoothest sounding IEM I’ve ever heard, ruined by the simple fact of unvented BAs. I still love it, I just can’t love it as much as I want to.

A few weeks back, I saw people talking about a new Softears IEM. I thought to myself “this sounds interesting, let’s look into it”. And I saw impressions and, most importantly, graphs of the IEM. I was astounded. That looked like THE perfect graph for my tastes. And when I finally got the time and chance to review this $319 2DD + 2BA hybrid, I wanted to make the most out of the IEM. So, how was it? Let’s start with the unboxing

UNBOXING​

I loved the unboxing experience of the Volume S despite its simplicity. The illustration of the Volume S up front compliments the overall theme really well and I wish more companies had this cohesion with their unboxing



Here’s a full list of the accessories:

• IEMs
• Modular cable
• Tuning tool
• Eartips
• Pleather pouch

There are technically two highlights to the packaging of this IEM. The inclusion of the Softears UC liquid silicone eartips and that weird tuning tool.



The UC liquid silicone eartips are, as far as I’m concerned, one of the better liquid silicone eartips I’ve tried so far. They feel really good and their shape honestly hugs my earlobes really really well. I’d personally buy a set if it wasn’t for the fact that I feel icky with liquid silicone eartips after a while and they’re essentially foam eartips waiting to decompose after a while. Mind you, I haven’t had a pair of normal silicone eartips break on me besides the one time I accidentally ripped one, but I’ve gone through countless foam and, soon enough, liquid silicone eartips. Maybe one day I’ll put the UC to the test.



Next is that tuning tool. What the heck is this? What is it for? Why does it look like this? Well, let’s move to the build & fit section for that.

BUILD & FIT​

The first thing that stood out to me about the Volume S is that freaky tuning switch. Granted, this is not my first time seeing a tuning switch like this. The Tanchjim 4U is another set that has a really weird tuning switch implementation that I really am not a big fan of. This thing is confusing and occasionally inconsistent with how the position of the switch is. The only real way to know what mode you’re in is if you etch an indicator somehow because Softears did not want to indicate what tuning mode you’re in. Bummer, but that’s probably one of the few nitpicks I have with this thing physically. This made it very difficult for me to know what tuning mode I’m in compared to other IEMs with tuning switches. But hey, at least this one actually does something!



Moving unto the actual build itself, the Volume S sports faceplate that looks pretty cool, albeit basic and akin to an IEM that I did not like very much. If you remember to Shozy x AAW Hibiki, they have a bit of similarity in terms of aesthetics. I’d argue that the Volume S does look a little better with the silver border, but it’s not really something that I’d fawn my eyes over. What worries me is another similarity both IEMs have, particularly with the inner shell material. Softears worked with HeyGears, the same medical-grade resin manufacturer that created the shell for the likes of the Truthear Hola and Hexa. I did not like that material and I do not like how the Softears Volume S feels. This resin feels so cheap and rubbery that I’m scared that over time, it’ll melt like what happened to the Shozy Hibiki MK2 that I tried back in the day.



Internally, the Volume S is a bit more interesting with a 2DD + 2BA setup with a lot of tech put into the drivers. Specifically, a special message from the engineer talking about something called the “bus impedance”



This along with the addition of their active + passive dynamic driver combo with a combination of a wool based diaphragm makes the Volume S one of the most unique IEMs I’ve tried internally. They also used their own “ED” series of Balanced Armatures that were molded based on famous BA sets like the ER4-B and AKG K3003




I’m not techy enough to judge their tech, but as someone who’s interested in the advancement of audio tech, it’s nice to see companies like Softears continuing to push innovation when other companies have stagnated and just copies tech that already exist.

As for the comfort of the IEM, Softears have made a very comfortable IEM. Full stop, it’s just a legitimately comfortable IEM with almost 0 pressure points even after hours of wear. I’d akin this to the recently reviewed Mega5EST and I really loved how that thing fit. The only thing I wish was improved is in terms of the seal. However, I do feel like it’s because of another factor;




The cable is not bad, but not good. It’s a full paracord construction, which means microphonics for days. However, this is one of the better paracord cables I’ve tried as it’s very soft, supple and comfortable on the skin. I never thought I’d say something like that about a full paracord cable, but it’s just damn comfortable. That is, until you begin to get interference from your shirt or even the wind and you start to realize why cables are better off with PVC outer layer.

SOUND​

NOTE: Because the Softears Volume S has tuning switches, I will be talking about the low impedance tuning first and compare it to the high impedance tuning in its own section

Sound Signature:​

The Volume S features warm neutral sound signature with emphasis in the upper midrange, rolled off but grainy treble and a thick midrange presentation. While I do love how rich the tone of the Volume S is, the timbre is so inconsistent and makes it a little difficult to find a genre that really fits the sound as vocal-centric genre can sound great but also a bit grainy and more complex genres can sound a bit slow and sloppy.

Drivability:​

Due to the low and high impedance tuning modes, the Volume S can either be a relatively easy to drive IEM or a surprisingly hard to drive one. On high impedance, the Volume S has an impedance of 32ohms and sensitivity of 114dB and on low impedance has 9.8 ohms and 124dB of sensitivity. This means that, depending on your mode, your amplification requirements will also change. The fundamental factor of the Volume S, however, is that you need a clean amp due to how inconsistent the timbre is.

Volume Scaling:​

As much as I want to crank the volume up on the Volume S, depending on your HRTF, you might not be able to enjoy this thing on higher volumes. Thankfully, low impedance mode allows for the Volume S to sound good even in lower listening volumes. High impedance doesn’t really give you a choice since you have to crank the volume up, but it's brighter tuning might end up making the difference negligible.

Listening Experience:​

Oh boy, here we go. On first listen, I was seriously disappointed with the Volume S. I was expecting Simgot levels of vocal presence, clarity and energy. Heck, I was even expecting this to be the vocal reference that I’d base all vocal-centric IEMs from. Unfortunately, despite looking like it has a flawless tuning, the listening experience was flawned.

I found this as I popped some Nina Live and listened to Love Moves in Mysterious Ways. The way the vocals were presented were just… Inconsistent. It would sound smooth and lush, then suddenly grainy and edgy. I tried more tracks, this time a bit more complex thinking that this is an IEM. I threw in some Necry Talkie and… Nope, still nothing. I thought to myself, “did I mess up the settings somehow? Am I in the wrong mode?”

Nah, it really just sounded like this. And that bummed me. I thought this was going to be THE vocal-centric IEM to beat. But so far, it’s just disappointed me. So I shared my thoughts with my friends and they said that the Volume S isn’t really an IEM for complex, fast tracks nor brighter, sharper mixed tracks. They suggested Lea Salonga’s “The Journey So Far”. And that’s when it hit me. Live albums with a more organic tone are where the Softears Volume S excels at. Which is both sad and interesting because this kind of tuning almost guarantees that it would sound great in most genres. This album then moved me into Samara Joy’s Linger Awhile and just like that, I found where the Volume S sounded good.

But that was the dilemma that I had with this set. As someone who enjoyed sets that specialized into certain genres more than it generalized, I was familiar with this kind of sound. Sounds great with this genre, not so much with this. So what makes Volume S different? Well, it’s such a distinct tone that is interesting but also unusual to my usual tastes. I expect warmer IEMs to sound smooth and consistent and brighter IEMs to be analytical. But the Volume S combined both into this weird Frankenstein Monster that, depending on how you like your vocals, will sound weird or fantastic. I know my friend thought this was great with volume and specific genres like this, but I couldn’t find myself to really enjoy this. Add to the fact that this IEM isn’t that well extended and for a treblehead like me, you kinda see why I wasn’t as big of a fan of this set

Its technical ability could also come into play here as the resolution, separation and layering just feels lackluster for the price. But its this same intimacy that makes it such a treat to listen to specific vocal-centric genres that don’t want to force you into a listening session, but instead eases you into the feeling. I really loved that about the Volume S, despite me largely disliking the set at first.

Even now, after a good week after having this set, the Volume S is still a set to get used to. But I can recognize that this is a set for those people who enjoy the warmth and lushness with a tinge of edge and sharpness in the tone.

TUNING SWITCH​

Softears isn’t the first nor will they be the last to implement the screw style tuning switch, but they are the first I’ve seen stated the impedance differences as a feature. KZ has done this with their “all up” switch option.

How this affects the Volume S is, interestingly, the high impedance being the brighter out of the two. The low impedance acts as the “stock” tuning with a more balanced overall tone while the high impedance cranks the treble and makes the overall sound “lean”.

Normally, tuning switches don’t have a massive impact on the sound. But the way Softears implemented the switches on the Volume S greatly affects the volume. I went from 36 volume to 46 volume on my Fosi K7 switching between low impedance and high impedance respectively.

As for the sound, qualities of the low impedance is largely kept, including the plasticky timbre and inconsistent sound. However, pushing the treble this much did end up making the sound a bit more consistent as the treble emphasis is clear and snappy and the warmth is almost completely gone, making the IEM an analytical IEM from a midcentric IEM.

I personally prefer the high impedance, as you might expect from a treblehead. But this level of treble also masks the plasticky timbre by making everything sound sharp and snappy without the warmth and lushness of the low impedance mode.

COMPARISON​

vs Hisenior Mega5EST​

On my Mega5EST review, I put my comparison against the Volume S pretty late. But I want to highlight the differences between a specialized sound and a generalist sound first. This is because, between the two, my cards were on the Volume S to be the IEM that I would love the most. However, the differences in their performance and tonal qualities easily proved just why the Mega5EST is a highly sought after IEM. Clean, consistent and best of all, versatile. The Volume S is none of those as the mid-centric tuning paired with its plasticky timbre make it a set that’s perfect on very specific vocal tracks. I don’t hate the Volume S, but it made me appreciate the Mega5EST, a tuning-style that I previously disliked for being too safe. Their technical ability is also night and day with the Mega5EST being a far more technically capable IEM than the Volume S in almost every single regard

vs Rose Technics QT9 MK3​

From one specialized set to another, the QT9 MK3 is an IEM that is a vocal and technical powerhouse and not much else. The main difference is that the Volume S has a low impedance for balanced lovers while the QT9 MK3 will force you into the Volume S’s high impedance regardless of treble sensitivity. The main benefit here is that the QT9 MK3 is more coherent due to the amount of treble emphasis. Both sets have a metallic timbre, but the QT9 MK3’s leaner tone hones into that sound. The Volume S is the better set for treble sensitives, despite the seemingly weaker technical ability

vs Intuaura Vew Splendor II​

These two sets have a lot in common for how different their driver and tuning philosophies are. The Splendor II is a lean, mean but genuinely engaging set that is either let down or strenghted by the inclusion of the DSP. The unfortunate thing about the Spelndor II is the fact that its non DSP mode has a lot to be desired, which puts the Volume S ahead in terms of source pairing. However, the Splendor II has a far more lively and versatile sound than the Volume S. The Splendor II also has a cleaner separation, but similar levels of refinement due to the occasionally edgy treble of the Splendor II

vs Simgot EA1000 (in general)​

The original midcentric vocal beast that, til this day, breaks down potential neutral bright IEMs under $500. The Volume S, expectedly, performs worse than the EA1000 in almost every single aspect minus offensiveness due to the aggressive treble presentation of the EA1000. However, timbre, technicalities and even specializing in a midcentric tone are all better on the EA1000. The main difference when it comes to their tuning is that the tuning switch of the Volume S actually works while the EA1000 could have honestly gone without it and it would still be the same IEM. Gold nozzle is pretty close with the Volume S, though!

vs AFUL Performer 5+2​

I wanted to avoid this comparison because they’re fundamentally differently tuned IEMs with different philosophies. However, I wanted to highlight their similarities in timbre as the P5+2 has that distinctive “AFUL” treble that I’ve taken issue with since their first international release. And yet, I would take the P5+2 if you were to make me pick between the two because of just how much more consistent the P5+2 is compared to the Volume S. In this case, I also found the treble edginess to fit the P5+2 more than the Volume S and the technical ability of the former is just leaps and bounds cleaner than the latter.

Conclusion:​

This is a love-hate IEM for me. I wanted to love it from how people described it, but listening impressions told a different story. It’s a perfectly imperfect set with a focused midcentric sound but incoherent and messy tonality. Is it the music I listen to? Is it the sources? I’ve changed everything but my opinion stands.

Does that mean that the Volume S is a bad IEM? Absolutely not. So many people rave and hype about this IEM. Whether it’d be because of other biases or pure preference, it’s important to understand people’s preference and why people like what they do. There are many factors and I, as a reviewer, need to highlight these things. Just because I don’t like the Volume S doesn’t mean I think you shouldn’t get it. It’s a warm, vocal centric set with decent detail without sounding offensive. You get a warm and a bright tuning option and the fit is phenomenal. There’s lots to love about the Volume S, but not a lot from me.

Thank you for reading my review on the Volume S. Have a nice listen!

NON-AFFILIATE LINK: https://hifigo.com/products/softears-volumes

thaslaya's star rating system:
☆☆☆☆☆ - Fantastic!
☆☆☆☆ - Recommended
☆☆☆ - There are buyers but not for me
☆☆ - Can't see the appeal
☆ - Product is a failure

Disclaimer:
This product was provided to me by Softears in exchange for my impartial and honest review. I recieve no compensation and all thoughts and opinions are my own.

Gear used:
●Samsung Galaxy s22 Ultra
●Softears S01
●Hiby FC4
●Kiwi Ears Allegro
●Letshuoer DT03
●Dunu DTC480
●BLON V1
●iFi xDSD Gryphon
●Snowsky Retro Nano

Source:
●Listening was done through Amazon Music HD or Ultra HD.

Introduction:
Softears is an IEM manufacturer based in China, probably more known for its expensive offerings like the Turii, RSV, Twilight, and flagship Enigma. The Volume S is a new, updated version of the original Volume model, which debuted in 2022. This new version features the same single dynamic and two balanced armature driver configuration as the original but now includes a passive radiator. It also features two tuning modes that can be changed with the turn of a dial and is currently available for $319 on the Softears website and other retailers worldwide. Let's break down this newest mid-fi release from Softears and see how it stacks up against some of today's competition.

Build, fit, ergonomics:
The Volume S comes in premium-looking black packaging and has a nice unboxing experience for the price. The shells are made of black resin, and the faceplate features a metal frame with a carbon fiber inlay. The right shell has the company name "Softears," and the left shell has the model name, "Volume S." The design is a bit understated and more in line with their higher-end models like the Twilight and Enigma. The aesthetic choice is a departure from the green colorway of the original Volume model, which I personally really like. The shells are lightweight, average in size, very comfortable for long sessions, and feature a recessed 2-pin connection. The insertion depth is average or maybe slightly above average, and the nozzle measures 5.6 mm, but it is smooth and lacks a lip to help tips stay in place. I didn't get any pressure buildup, and there's a small slit at the bottom of the carbon fiber inlay in the faceplate that functions as a vent. As stated earlier, the Volume S features two tunings, which can be toggled by turning the dial located just off-center in the middle of each faceplate. A plastic flathead screwdriver-type tool is included to adjust these dials. This toggles the Volume S between low and high impedance modes. Unfortunately, there are no markings to distinguish which mode is enabled at a quick glance. This is a bit of a design flaw in my eyes, but it's pretty easy to tell which tuning is enabled in-ear, especially since the low impedance is easier to drive and will be louder at the same volume setting. The stock cable is made of oxygen-free copper with a paracord sheath. It's nicely braided and not stiff or tangly, but unfortunately, it does pick up a lot of microphonics. It usually disappears when music is playing, but I would still suggest using an alternative cable for those sensitive to it. There are six pairs of silicone tips included in two different varieties. I tried both styles but wound up using others, which I'll share later in my sound impressions. The zippered case is made of soft, supple, and premium-feeling black leather. It's a little chunky, but it has great build quality. The accessory package is rounded out with a cleaning cloth, a small bag for the shells, and a Velcro cable tie.

Sound impressions:
I'm deviating slightly from my usual format to avoid doing a disservice to the Volume S. It features two distinct tunings so I will provide a brief synopsis and breakdown of each. I believe both have merits and use cases, depending on preference and genre.

Softears also sent me their new USB-C dongle DAC, the S01, along with the Volume S. It is not a stock accessory but can be purchased separately for $25. If you are looking for something simple, it is a nice little dongle DAC that works well with this set, and I will definitely be utilizing it in my future reviews.

● Low impedance setting - For this mode, I chose the JVC Spiral Dot tips, swapped out the stock cable for the NiceHCK SnowAg silver cable, and utilized the Kiwi Ears Allegro DAC/amp. I would describe the overall tuning of this setup as U-shaped, with bold bass, a somewhat laid-back midrange, and a rolled-off treble response. The note weight is rich and thick, which I like. The low-impedance mode will obviously be easier to drive, and it can reach very loud volumes with a simple dongle. Detail retrieval is decent, but this mode is really focused on musicality, which it does very well. Don't expect the most detailed and resolving sound, but it shouldn't leave you wanting either. The soundstage is excellent; it is fairly expansive in width and depth, and has a great spherical shape and a full sound that utilizes the space well. The timbre has a sort of analog sound, with a rich and natural tonality. Imaging is accurate and impressive, and the separation is clean without sounding disjointed. The dynamics are a bit disappointing, though, as the bass only comes to life at higher volumes and can sound a little anemic at lower levels. This mode is somewhat forgiving of poorly recorded tracks, which is a big plus. The bass is fairly prominent, but it is done very well and complements the overall tuning without detracting from other frequencies. It has a fun, bouncy character with good rumble and reverberation, although it lacks a bit of energy and excitement. It is more mid-bass focused than sub-bass, but the extension can get pretty low when a track demands it. The texture is not muddy, but it does have a slightly wet quality. The bass is a little light on impact and slam and could be punchier. The speed is fairly quick, and the decay might linger a smidge too long, but I feel it fits a typical DD-style bass. There is not necessarily a lot of bleed into the midrange, but the elevated midbass can make it difficult for some lower midrange instruments to stand out. The midrange frequency response, being a bit flat, helps some instruments, like guitars, be more prominent and sound particularly great. However, the upper mids are not very accentuated, leading to a slightly veiled and somewhat recessed vocal presentation. There is not enough vocal emphasis for my taste, especially with male artists. Female vocals do cut through a bit more decisively, although I would still welcome a boost in the upper mids to help bring out some of the vocal magic I feel is missing. There is not much to talk about in the treble department. The energy level is somewhat diminished, and the extension is rolled off, leading to a lack of air. It can sound a bit dark and definitely will not be enough for treble enthusiasts. Cymbals, hi-hats, claps and snares are still present but inoffensive. There is absolutely no hint of sibilance, harshness, or troublesome notes, but that is to be expected with this kind of treble response. Overall, the low-impedance setting is bassy and laid-back, making this tuning easy to listen to all day long. I really enjoy the musicality, enveloping soundstage, full bass, and tamer treble. However, I find it lacks vocal emphasis and a certain level of excitement and engagement, which some may find boring.

● High impedance setting - For this mode, I used the stock cable, Penon Liqueur tips, and the Snowsky Retro Nano DAC/amp. This setting has a brighter V-shaped tuning compared to the low-impedance mode. The elevated upper mids and more energetic, extended treble lead to the bass taking a bit of a backseat, but not by too much. The note weight isn't thin per se, but it is somewhat thinner compared to the low-impedance setting. It's definitely harder to drive in this mode, but it can still get pretty loud from a simple dongle. Detail retrieval, imaging, and separation are all slightly improved from the low-impedance mode; unfortunately, the soundstage loses some of its expansive nature, resulting in a more intimate and less full presentation. The timbre remains strong, with a natural and organic quality. The dynamics are much stronger than in low-impedance mode, meaning it can be enjoyed more at medium and lower volume levels. The bass is tighter, cleaner, more resolving, and punchier, but the rumble and reverberation are reigned in slightly. It's also a little more sub-bass focused, with a slightly drier texture, contrasting the low-impedance bass. The extension is still good, but it lacks the same rumble and reverberation. It still has good speed, but the decay is slightly faster to my ear, and there is no bleed into the midrange. Speaking of the midrange, vocals are more forward and prominent. Male artists, in particular, are better represented and separated. Females are also more accentuated as well, though they can sound a little shouty at higher volume levels. Besides gaining brightness and better air and extension, the treble also takes on a slightly brittle quality, most noticeable on snares and claps. Cymbals and hi-hats are also a bit more incisive. The top end is more energetic and exciting, which does well to counteract the more laid-back tuning of the low-impedance mode. There is no real sibilance to speak of, but there is a bit of thinness that can become fatiguing over long sessions. Overall, the high-impedance mode has a tuning philosophy that is a great counterpoint to that of the low-impedance mode. Unfortunately, it can be too bright and thin at times, and it loses some of the note weight and fullness offered by the other tuning. It trades those for a bit more clarity, energy, vocal emphasis, and a touch of brightness. I have no doubt this tuning will have its fans, but I am not sure it will be enjoyed by a majority of Volume S adopters.

Comparisons: All comparisons were made using the low-impedance tuning of the Volume S. Credit to Super Reviews and Aftersound for the graphs.

●Ziigaat Estrella ($300) - Both are hybrids but The Estrella features 2DD and 4BA while the Volume S has 2DD and 2BA. The unboxing and accessories favor the Volume S. It has a better, more pocketable case, and even though the modular cable exhibits some microphonics, it is still superior to the Estrella's cheap-feeling stock cable. I like the look and feel of the Estrella's smooth resin shell and its metal nozzle has a lip that helps keep tips in place, but the Volume S has a more unique aesthetic. As for tuning, the Estrella is much more V-shaped, with lower-reaching sub-bass and brighter treble, while the Volume S is U-shaped and more relaxed. The Estrella's bass is bolder and more sub-bass focused, with less mid-bass emphasis and impact. It is also a little more resolving, with a shorter decay. The Volume S still has a good amount of bass and is better balanced between sub- and mid-bass. The lower midrange is better represented on the Volume S, but the transition between bass and mids is cleaner on the Estrella. While the Volume S does not quite accentuate vocals enough for me, it does offer a better balance across the midrange frequencies. The Estrella emphasizes female vocals more, which can sound a little thinner and brighter; male vocals may sound a little recessed in comparison. The treble of the Volume S is also much more to my liking. It has enough air and sparkle to avoid sounding claustrophobic or incomplete, but it is admittedly rolled off a bit early. The Estrella, on the other hand, can be quite bright at times and does exhibit some thinness and troublesome notes to my ear. As for technicalities, the Estrella does have slightly better detail retrieval, imaging, and separation, but the Volume S has a much fuller soundstage, better dynamics, and a more natural timbre. This matchup really comes down to tuning preference. The Estrella is more energetic and exciting, whereas the Volume S (in low impedance mode) is relaxed, with a bit of warmth that makes for easier listening. It's an easy choice for me as a treble-sensitive listener and a fan of full-sounding bass. Plus, if I'm in the mood for more treble, I can simply switch over to the high impedance mode for a brighter tuning, making it the more versatile option.
My pick: Volume S

●Softears Volume ($285) - These two have almost identical driver configurations, but the newer Volume S adds an extra passive radiator to the original's 1DD, 2BA configuration. The unboxing experience and presentation are better on the original Volume, in my opinion, but the accessories are about the same. I do like the modular cable of the S more, but I dislike its accompanying microphonics. The original's design and build quality are my preference, mostly due to the green color, metal faceplate, clear resin, and the nozzle lip that helps hold tips; however, both do offer a comfortable fit and seal for me. Both have a somewhat U-shaped tuning, with elevated bass and an emphasis on the upper midrange, but the S is definitely bassier, and the original is brighter. The low end of the S has a more full-bodied sound, and the extra midbass adds a fair amount of warmth. The original sounds less colored in comparison, but the bass is still satisfying enough for me. In the midrange, the S lacks a bit of emphasis on the upper mids, meaning vocals aren't as pronounced, which is one of my favorite aspects of the original's tuning. The treble responses of both are pretty close. The original does sound a bit brighter in comparison, due to having a little more energy, but both have fairly rolled-off treble extension, and neither has any harshness or sibilance to my ear. As for technicalities, these two are pretty close, with a few key differences. The S has the superior soundstage with more depth and a fuller, more spherical presentation. The original might have slightly better detail retrieval because of the clearer, less colored tuning, but it can also come across a bit dry at times. I really enjoy both Volume models, and the original still holds a special place in my collection. Because the tuning of the original hits somewhere between the two settings of the S, I don't consider the older model to be obsolete or redundant. I have to admit that part of me prefers the fuller and warmer disposition offered by the low-impedance setting on the S, but the original has more vocal emphasis and a better overall balance for me and my preferences.
My pick: Both! (but if forced to choose, I'd probably pick the original Volume six out of ten times.)

●Softears Studio 4 ($450) - These two have the same number of drivers, but the Studio 4 features an all-BA configuration. The Volume S offers a better unboxing experience and much more premium accessories, in my opinion. The leather case and modular cable are great, but the pelican-style case of the Studio 4 is more secure, which makes it better for travel. The Studio 4 features a solid resin build, which I like, but I prefer the aesthetics of the Volume S a bit more. The shell size of the Studio 4 is a bit smaller, but the Volume S fits me better. The tunings of these two are not vastly different. The Volume S has a U-shaped response with more bass emphasis, whereas the Studio 4 adheres to a more balanced and somewhat neutral tuning. The bass on the Volume S is just way better for my preferences. It's warm, inviting, and enveloping, while the Studio 4 is more geared towards speed and accuracy. I wouldn't necessarily call the Studio 4 bass light, but it sticks pretty close to neutral and won't put out more bass than the track calls for. The frequency responses of these two are basically identical from 300 Hz to around 5 kHz; however, vocals are a bit clearer and more forward on the Studio 4 due to the lower bass quantity. The treble also sounds a touch brighter, with more air and sparkle, but it is not harsh or sibilant. Technically, the Volume S offers a bigger and fuller soundstage, a slightly more natural timbre, and better dynamics. The Studio 4 is a bit more detailed, with better separation and balance across all frequencies. Both are enjoyable sets, but for different reasons. I feel the Studio 4 would be a great choice for those who like the midrange and treble of the Volume S but want a tamer, less colored bass. For me, the Studio 4 comes across as a bit boring, and I prefer the bassier and more colored tuning of the Volume S.
My pick: Volume S

●Intuaura Splendor II ($250) - Here we have a single full-range DD up against the hybrid configuration of the Volume S. Both sets have decent packaging and accessories. The Splendor includes a DAC (with a slight tuning adjustment) but lacks a modular cable, so it's up to individual preference. The Splendor's shells are made of resin, whereas the Volume S is resin with a carbon fiber faceplate insert. I personally prefer the painted faceplate of the Splendor, but both have a nice design and aesthetic. They are similar in size, but the Volume S has a longer nozzle, although it is smooth and lacks a lip. The sound signatures are a bit different: the Volume S is U-shaped with emphasis on the bass and upper mids/lower treble, while the Splendor is more V-shaped with a bigger midrange dip and more emphasis on the treble. The Volume S has more bass quantity and is cleaner and more resolving with deeper extension. The Splendor is a bit more mid-bass focused, which adds a nice warmth but lacks some extension. In the midrange, male vocals have more body on the Splendor due to the extra emphasis on the lower midrange. Female vocals also have some added energy and excitement. The mids on the Volume S are smoother and more evenly balanced, but I wish there was a bit more pinna gain to help vocals take the spotlight. As for the treble, I wouldn't say either of these sets is bright, but the Splendor does offer more sparkle and air. Neither has any troublesome notes or sibilance, but the Splendor, having more of a V-shaped tuning, does bring about a certain level of energy and fun. The Volume S has a very tame treble that does just enough to stay present, which is more in line with my preferences. From a technical standpoint, the Volume S has a bigger soundstage, more natural timbre, and better detail and resolution. The Splendor has better dynamics, a more intimate presentation, and a warmth that leads to more emotive vocals. The Splendor's tuning addresses some of my issues with the midrange of the Volume S, but it also sounds brighter, with a more energetic treble, which I don't necessarily prefer. For me, the Volume S offers a better bass response, a smoother and more relaxing overall presentation, and a superb soundstage that makes it hard to pass up.
My pick: Volume S

●Aful Performer 5+2 ($240) - This is a hybrid (2 DD, 2 BA) versus tribrid (2 DD, 4 BA, 1 planar) matchup. I'll give the Volume S the advantage in accessories due to its leather zipper case and modular cable, although its microphonics are a downer. The build quality and design are subjective and could go either way, but I personally prefer the resin shell and overall aesthetics of the Performer. The Performer's shell shape has a bit more contour, but both provide a comfortable fit, for me. As for the sound, both have a somewhat U-shaped, meta-style tuning with a focus on bass and slight emphasis on the upper mids, but the Performer does have a bit more energetic top end. The Performer is more sub-bass focused, and the bass has a decent punch and impact, which makes for a more fun and energetic low end. The Volume S has more mid-bass emphasis and is a little less refined, with a slightly slower decay to my ear. The midrange of the Performer is slightly more pronounced and just sounds a little cleaner and more correct. The mids of the Volume S can come across somewhat recessed, and sometimes I feel like I'm missing a little of that vocal magic, mostly with male artists. The performer isn't bright per se, but it does offer better treble extension and air. That little bit of added sparkle really helps round out the tuning profile to sound more complete. The low-impedance mode of the Volume S sounds a little dark in the treble and can come across as somewhat blunted. Technically speaking, these two trade blows pretty well, although I'd give a slight nod to the Performer in imaging and dynamics. For me, this matchup boils down to a battle of bass tastes and engagement factor. The Performer 7 has better sub-bass extension and rumble and a little more sparkle for good measure to help even it out and add some energy and life. The Volume S offers increased mid-bass warmth and a more relaxing tuning, but it can lean just slightly boring at times. In the end, I'm sticking with the one that I feel offers the more well-rounded tuning, and is cheaper to boot.
My pick: Performer 5+2

●Dunu DaVinci ($300) - Here we have another 4DD, 2BA hybrid to compare against the 2DD, 2BA Volume S. The unboxing and accessories of both sets are different, but similarly good. In my opinion, the better case goes to the Volume S, and the better cable to the DaVinci, but the latter also includes more tip options. The DaVinci has a solid resin shell with a metal nozzle, which I prefer, but the Volume S is lighter weight and has a longer nozzle for deeper insertion, though it lacks a lip. I find both to be comfortable, though the larger shell of the DaVinci may cause issues for some. Design-wise, I like both, but I am a bit swayed towards the DaVinci's wooden faceplate design. These two graph pretty similarly outside of the bass response; they both have U-shaped tunings with decently accentuated bass and elevated upper mids/low treble. As you might be able to ascertain from the graph, the DaVinci is definitely the bassier of the two, but they don't sound as far apart as the graph might suggest. DaVinci's bass is bolder and more impactful, with deeper sub-bass extension and a slightly longer decay. However, the bass of the Volume S is a bit more resolving and cleaner. In the midrange, the DaVinci has better vocal representation for both male and female artists. There's also a nice touch of warmth that plays great with the big bass response. Vocals on the Volume S aren't quite as forward and are less energetic, although they are better separated due to lower bass quantity. Both of these sets have great treble for my preference and they sound very much alike though the Volume S may have just a touch more crispness and edge to things like cymbals and hi-hats. For technicalities, I'll give the Volume S a slight nod in soundstage, imaging, and detail retrieval. The DaVinci has a touch more natural timbre and better dynamics. Ultimately, it comes down to the bass response and vocals for me. The Volume S has a good amount of quality bass, but the DaVinci hits harder and is simply more fun. It gets my blood pumping, head bobbing, and toes tapping in a way the Volume S cannot quite match. Also, vocals on the DaVinci come through a bit clearer without losing a sense of warmth, which I love. My choice is simple: the DaVinci remains the mid-fi king for me and doesn't look to be relinquishing its crown anytime soon.
My pick: DaVinci

In conclusion:
What do you get when you have two distinctly different but still strong tuning philosophies merged into a single IEM? That, my friends, is the Softears Volume S. While I might prefer to use the low-impedance mode around 75% of the time, having the option and versatility to turn the dial and activate a brighter and more energetic tuning is great. The low-impedance mode is like hot chocolate: sweet and warm, with a rich sound that is very enjoyable, if not a bit relaxed. The high-impedance mode is more akin to a strong margarita in that it retains a certain sweetness but can also be strong, tart, and has a bit of an edge and bite. I like the low impedance for its bassy and fatigue-free tuning that I could listen to all day. I also like the high impedance for its energy and engagement factor. Each tuning is a bit more specialized, and neither is a great all-rounder for me. The lower impedance works well with female artists, soft rock, singer-songwriter, and pop; basically any music where the mid-bass warmth can be enjoyed and appreciated without encroaching on the vocals. The high-impedance pairs best with male vocals, rock, classical, and orchestral music, but it might be better enjoyed at lower listening levels to combat some of the brightness. In the end, the Softears Volume S is a very special release in the mid-fi tier, and although it doesn't overtake some of my favorites, it absolutely joins them as one of the gatekeepers at this price point.