SOFTEARS VOLUME S

INTRODUCTION:
The Softears Volume S is a set that has taken me by surprise in so many ways. Initially, when I unboxed these IEMs, I was impressed by the unboxing experience but struck by the large shells. I wasn’t sure what to expect, but as soon as I started listening, I was immediately impressed. The Volume S offers a balanced sound with just enough bass boost to make it incredibly enjoyable, and after a couple of months of daily use, I can confidently say that this is one of the most impressive IEMs I’ve had in my collection. For its price range, it offers a sound signature that rivals much higher-end gear. But, as with every set, there are strengths and weaknesses.

DISCLAIMER:
I have purchased the Softears Volume S myself, and I am not being compensated in any way for this review. All opinions here are my own based on my personal usage of the IEMs over the past two months. My goal is to provide an honest and comprehensive review to help you make an informed decision.
If you’re interested in purchasing the Softears Volume S, you can find the product here: https://conceptkart.com/products/softears-volumes-2dd-2ba-hybrid-drivers-iem
ABOUT ME
I’m fairly new to the world of IEMs, having jumped into the hobby just a few months ago- but since then, I’ve gone down the rabbit hole exploring a variety of budget and mid-range sets. I don’t listen at loud volumes, and I’m quite sensitive to treble, which is why I usually lean towards warmer sound signatures that let me enjoy long sessions without fatigue. My music taste is all over the place- from different genres to different languages- so I appreciate IEMs that can adapt and still sound musical. While I won’t get deep into technical measurements, I’ll try to keep things clear and relatable, with just enough info to help fellow enthusiasts understand how the IEM actually feels to listen to.

ABOUT VOLUME S
The Softears Volume S is a hybrid IEM that combines two dynamic drivers with two balanced armature drivers, aiming to deliver a balanced and natural sound signature.

TECHNICAL SPECIFICATIONS:

• Driver Configuration: 2 Dynamic Drivers + 2 Balanced Armature Drivers
• Impedance: 9.8Ω (Low Impedance Mode) / 31.2Ω (High Impedance Mode) @1kHz
• Sensitivity: 124dB (Low Impedance Mode) / 114dB (High Impedance Mode) @1kHz
• Frequency Response: 20Hz – 20kHz
• Connector: 0.78mm 2-Pin
• Cable Length: 1.5m
• Plug Type: Modular (3.5mm and 4.4mm included)

The Volume S is designed to be easily driven by a variety of sources, thanks to its dual impedance modes. The low impedance mode offers higher sensitivity, making it suitable for portable devices, while the high impedance mode provides a different tonal balance for those who prefer it.





UNBOXING AND ACCESSORIES
The unboxing experience of the Softears Volume S immediately signals that you have purchased a more premium product. Right from the packaging to the included accessories, everything is neatly laid out and thoughtfully presented.
Inside the box, you get a solid spread of accessories that complement the IEMs perfectly and make the overall experience feel complete. Here's everything included in the package:

1. Cable – A thick, durable modular cable that connects via 0.78mm 2-pin and supports interchangeable plugs.
2. 3.5mm Plug – For single-ended listening.
3. 4.4mm Plug – For balanced output setups.
4. Adjustment Tool – A handy tool for switching between low and high impedance modes.
5. B-type Eartips (3 Pairs) – Standard silicone tips in different sizes.
6. UC Eartips (3 Pairs) – Ultra-clear eartips for improved comfort and seal.
7. Storage Case – A sturdy and compact case to keep the IEMs safe during transport.
8. Dust Paper – For wiping and cleaning the IEMs.
9. Portable Bag – A soft pouch for extra protection on the go.
10. User Manual – Contains usage and safety instructions.
11. Brand Card – A small Softears branding card.

Everything included feels intentional- from the modular plug system to the two sets of eartips offering comfort and fit options. The build quality of each accessory also feels premium especially the cable.

BUILD AND COMFORT
The build quality of the Softears Volume S is top-notch. The cable is thick, durable, and feels solid to the touch. It’s not flimsy or thin in any way; it’s actually quite substantial, adding to the premium feel of the set. The IEMs themselves are well-constructed, and the overall look and feel reflect high-end craftsmanship. For someone like me who’s used to budget-friendly IEMs, this set definitely stands out as an entry into the world of mid-fi audio gear.

In terms of comfort, the Volume S is relatively comfortable, but as is the case with many IEMs, prolonged use can sometimes lead to a bit of discomfort. I found that after about two hours, I had to readjust the IEMs, but this wasn’t a major issue. Different ear tips, including Divinus wide bores, Spinfit w1's ultra-clear ones provided in the package, helped a lot with comfort, although the itchiness after longer sessions was something I had to deal with.
Another note is that while the comfort is generally good, wearing the set while lying on your side isn’t the most ideal as the IEMs feel slightly obstructive. But again, the sound quality of the Volume S makes it easy to overlook these small inconveniences.

DRIVABILITY
The Volume S is super easy to drive and honestly works great with pretty much anything. I used it with various sources and it sounded solid across the board. What’s even better is that it actually scales with better sources, so if you plug it into a decent DAC/amp, it opens up even more.

SOURCES USED

• Audiocular D07 dongle
• Kiwiears Allegro mini
• Samsung S23 Ultra
• Acer Nitro V laptop

SOUND IMPRESSIONS FOR LOW IMPEDANCE

BASS
The Volume S comes with a balanced tuning that has just the right amount of bass boost to give some body and warmth to your music. The bass hits strong and tight, with a nice slam that doesn’t ever feel bloated or muddy. What impressed me the most is how well-controlled it is- there’s absolutely no bleed into the mids, even in busier tracks. While the sub-bass doesn’t dig super deep, it’s still present and satisfying, just not the type that will shake your head. It’s clean, focused, and does exactly what it’s supposed to do without trying too hard.

MIDS
This is the star of the show for me. The mids are just... incredible. I genuinely can’t find enough words to praise them. Despite this being my first mid-fi set, the clarity here feels like something that could easily go head-to-head with $500–$700 IEMs like HiSenior mega5-est. Instruments sound natural, detailed, and never lost in the mix. Vocals are forward and vivid- whether male or female- and they stay clean even in chaotic tracks like “Vibes of Spaces” by Manapart or “Custer” by Slipknot. The resolution in this range is top-tier.

TREBLE
The treble is what I’d call “safe” for many, but for me, it’s absolutely spot on. It has that sense of air and openness that helps the soundstage feel wide and immersive, yet it never crosses into sharp or piercing territory. As someone with very treble-sensitive ears, I’ve had zero issues with fatigue, even at higher volumes. Everything up top is crisp, controlled, and smooth- just how I like it.

SOUND IMPRESSIONS FOR HIGH IMPEDANCE
The high impedance mode drops the volume level significantly and the overall sound just got thin and congested. That tight punchy bass? Gone. Mids felt recessed, and the treble got a lot sharper and lost its air. It just didn’t feel as dynamic or full-bodied as in low impedance mode.
Honestly, high impedance mode is not where this IEM shines. It’s clearly optimized for low impedance sources and regular portable gear. If you’re planning to use high impedance mode thinking it’ll somehow add "audiophile magic," forget it. Stick to low impedance—that’s where Volume S flexes its strengths.

TECHNICAL IMPRESSIONS

SOUNDSTAGE
The soundstage on the Volume S is excellent—by far the one of the widest I’ve experienced with any set. It truly excels in creating a sense of space around you. When I listen to complex tracks, I can easily place each instrument where it should be, which adds to the overall immersion.

IMAGING
Imaging is above average. Instruments and vocals are placed with clarity and precision, and I can easily track sounds moving across the soundstage. It’s not the most pinpoint accurate set I’ve used, but it certainly holds its own in this regard.

LAYERING
Layering is impressive. In dense or busy tracks, the Volume S never loses track of the individual elements. Even when things get hectic, each instrument stays in its own lane. I can hear multiple layers of sound and how they fit together without feeling like anything is masked or crowded.

TIMBRE
Timbre is, without a doubt, my favorite aspect of the Volume S. Everything just sounds right. Instruments and vocals come across with a natural richness that I haven’t experienced in many other sets. Whether it’s an acoustic guitar or a full orchestra, the timbre is lifelike and well-rounded, adding a touch of realism to every track. Listening to orchestra on this set is like a treat.

EQ PERFORMANCE
The Volume S takes EQ like an absolute champ. Whether you're making finer adjustments or pushing into complete retunes, this set responds beautifully across the board. You can tailor it to your liking with precision—but there's a caveat.

If you push the bass too hard, it tends to get boomy and loses that tight, punchy character it naturally comes with. That said, bassheads looking for a subwoofer-like experience might actually enjoy cranking it up—just be mindful of how much you boost. It’s incredibly flexible, but the stock tuning already hits a sweet spot for most listeners.

PERSONAL INSIGHT
As someone with extremely treble-sensitive ears, the Volume S feels like a blessing. I can listen to it at high volumes for long periods without any ear fatigue or discomfort from sibilance. That, combined with its timbre and resolution, makes it hard to take off.

COMPARISON

HISENIOR MEGA5-EST 7TH ANNIVERSARY EDITION vs SOFTEARS VOLUME S
Now, I’ve only had one set that could stack up against the Volume S in price and performance: the Hisenior Mega5EST Anniversary. The Mega5EST is technical and i could immediately feel the separation and analytical nature of its tuning. The detail retrieval, imaging, and sparkle in the treble are all superior, especially in tracks with lots of micro-detail.

But the thing is… while the Mega5EST impressed me with its technicality, the Volume S moved me with its tonality. The sound of the Volume S is just more musical and emotionally engaging to me. The mids feel more natural, the timbre is spot-on, and while the Mega5EST is cleaner and more clinical, the Volume S is warmer and more immersive.
For everyday listening, I find myself picking up the Volume S more often. That says something.

FINAL THOUGHTS
Softears Volume S is not just another mid-fi IEM trying to impress- it’s a genuinely well-tuned, highly technical, and enjoyable set that punches well above its price. It doesn’t try to overwhelm you with gimmicks or unnecessary flash. Instead, it delivers a refined sound signature that balances musicality with technical precision, all while maintaining excellent treble control for sensitive ears like mine.
It’s not without its flaws- the high impedance mode being almost useless, comfort can be a mixed bag for longer sessions, and the large shell size might not suit everyone. But if you're looking for a set that sounds naturally engaging, takes EQ like a beast, and gives you just the right amount of air and punch without ever becoming fatiguing- Volume S should absolutely be on your radar.

Softears Volume S has recently become my favorite and most used set. It does everything brilliantly and doesn’t leave me wanting for more. This I tell you is one of the greatest feats it has achieved. There are expensive sets that specialize in one thing and are inferior in else to the point that one feels wanting more but this has achieved that balance where everything it does is exceptional. Yes, there are sets that do soundstage better with precise imaging or another set that is extremely revealing in resolution and details but it’s hard to find a set that has a balance and especially under 1000$. Volume S has achieved just this.



Audio Chain: Volume S>Topping DX1>Roon with HQplayer>Macbook | Volume S>Topping DX1>Poweramp



This hobby being very subjective where one’s preferences make a big difference leaves one wanting the reviewer’s preference. So, I’ll give it a place here in brief. I like a balanced tuning with slight warmth and treble to balance it and make it musical. For my favorite tracks and they being too diverse and to avoid being recursive I’ll list them below. As remembrance fades with time, the astonishment lost doing it injustice in appraisal I’ll review this with music.

Disclaimer: I bought this with my own money and am not sponsored or hindered in any way by anyone to express certain opinion. All opinions are my own.



The first experience using Volume S left me wonder-wounded. Mozart's Introitus starting with the climbing strings from Cello_Bass to Violins_Violas each clearly placed in a wide soundstage then the winds growing and they too have a distinct placement. Everything is so clear and detailed, when the Voices enter with the Timpani pounding fills the whole soundstage leaving me in sonic bliss. The Timbre is so beautiful and nothing sounds in my head as does with cheaper IEMs like Hexa but it is presented in a majestic way from outside my head, although it's not as huge as expensive stuff but I have never felt a need of wanting more.
The Missa Solemnis' Benedictus starts with a glimmering high Violin transporting one in heaven then the low voices far back chanting. I've never felt any better listening to music. Missa Solemnis is a very demanding work and cheaper IEMs like Hexa completely fail to give it justice. It requires a decent separation, imaging and beautiful timbre that Volume S delivers.
Bach's Aus Liebe will mein Heiland sterben is rendered exceptional. One can hear players taking breaths and then the Soprano comes in...Ah! How beautiful, I have no words to do it justice. Similarly with B-minor Mass, it plays it like nothing. For Oratorios it's an exceptional piece of gear.



Volume S has great dynamics rendering the softest to the loudest correctly, I'll go more into it during the discussion of Winterreise below. The Horn-call and Brass Fanfare at the start of Das Trinklied vom Jammer der Erde enters like a meteor with the immensity to destroy whatever comes in it's way. Then Fritz Wunderlich enters just as majestical. It makes with shudder with astonishment that humanity can experience such richness. Nothing is escaped from Volume S' detailed presentation and I just escape from this dreary reality in to worlds filled with ripeness.
Im Abendrot starts so lyrical and everything is placed as if it is being played just for me and my personal enjoyment. The sounds just surrounds me beautifully. Then Elisabeth Schwarzkopf sings that is no less rich than anything I listed above or am going to list below. Volume S does all these the honor they deserve.



From here I'll be more brief to not go on for eternity. The Wagnerian vorspiels start from silence and it's as if in my presence a world is build from the most silence to as immense it can get. The playfulness of Figaro is wonderful on these. The fury on Don Giovanni is as if zeus himself in his rage did take residence in my ear.



From the most lyrical to most dense and majestic has found grace to mine ears during my listening. The most dense fugal passage of Jupiter symphony has immense clarity. The gigantic Resurrection symphony that goes from destroyer of worlds to the sweetest lullaby is rendered beautifully. The dynamic shock of Pathetique made me jump from my seat while listening with it's sudden intensity.




Heifetz has incredible presence in the Brahms Concerto. The Violin's Timbre is exceptional. It plays all these recordings very well.




The Mozart Concerto 20 is rendered with great delicacy. The Piano vs Orchestra balance is really good. The dynamic swiches from loud to soft are rendered without fault. The 5th Beethoven Concerto, especially the Adagio un poco mosso which is one of the most lyrical and awe-inspiring pieces of music is rendered beautifully without fault. The tingling piano that I'm so used to here in Fleisher_Szell recording is done really well. I just wish there was just a little more treble as the warmth envelops it a bit much for my taste. This being a minor fault with Volume S and nothing that could not be forgiven.



Even the winds have exceptional timbre that goes well with accompaniments. The naturalness that Volume S provides is unparalled.



The Piano sounds almost magical here and Dieskau's voice is so flexible which is rendered beautifully. Frihlingstraum starts beautifully with the PIano and gently Dieskau follows and it's just magical. Than it shifts to intense, even when he shouts there's no harshness, it's all smooth. One can feel him shouting but that's what the song demands and it's rendered beautifully. Then it returns to the gentle beginning but this time it turns to melancholy and it's one of the most beautiful modulations in all of music and is rendered so perfectly. I'm in pure bliss.





The String Ensemble with their uniformity and sonic balance is rendered beautifully. Even the complex voices in contrapunctal writings of late Beethoven has clarity and can be easily followed. Volume S is very good in presenting these.



The Piano has a beautiful Timbre with Volume S. Everything is so natural and the dynamics going from soft to loud are presented as it is. I feel like now I'm repeated stuff but it really has me in awe. Now to modern genres and music I love.



Listeing to Aoba's Shigatsu to Shitaku is an experience through which I can happily fall to my eternal sleep. It has an unparalled intimacy. The melancholy and the range of her beautiful voice is pure bliss. The warmth of Volume S is perfection for her Album 0. Natalia's De Todas las Flores sounds brilliant, her voice has incredible texture that is rendered perfectly, the room is presented with precision.


Though now I mostly listen to stuff listed above, I love modern albums and I've listend to all these atleast 1000 times each and know them deeply. This is my childhood here. Here one can really feel the prowess that Volume S has. The imaging, seperation and soundstage presently is astonishing. Modern albums are generally mixed with this in mind and so one can really feel is disticntly. The Height, Width and Depth are all present and really clear when listening.
Viðrar vel til loftárása starts with a menaching sound that is rendered without harshness. Then the piano enters and it is as if it belongs there without being masked by other frequencies or masking other textures and is placed in a space rendered well by Volume S. The Bass follows. Soon the strings fill the space with their beauty. Then the suffocated/vieled vocals enter filling me with pathos. Then the whole sonic landscape is filled and everything is presented in it's space with gerat clarity. This then transitions to Orchestra most gracefully and to transcendence. This is to me is one of the modern masterpieces that is so beautiful that I can get lost in a world of music.



I could go on about everything here and it'll never end. I just want you to know Volume S handles my library as presently here without compromise. From the softest ballad to the most intense rock is handled delicately. There are genres that I don't listen like Rap or Hip-hop or Metal and I want you to trust someone who listens these for their opinion on Volume S.

Comparision to Tea Pro:
Tea Pro is a competitor in this price range is well loved by many but I did not like it. It had too much bass that for me ruins how I like stuff to be presented. It has just slightly better soundstage and imaging. The Timbre, Tuning, Resolution and Comfort is really superior on Volume S for me. Tea Pro hurts my hears in just 20 minutes and that disqualified it for me. Volume S is one of the most comfortable IEMs to my ears under 500$ and just that is a huge plus for Volume S.

In Conclusion it works really well for everything I really love. This is the best thing that has happened to me in this hobby in a long time. Though this being a great IEM one desires more and there are things that can still be improved upon like better soundstage, imaging, even better resolution and more comfort. So, I'll deduct half a star. For someone who want to buy it, I still hope you try it before you buy as this hobby is really subjective. This being my first review got a bit too long. Thanks a lot for reading it to the end.

Preface:

I borrowed this unit from a dear friend @gadgetgod

I'm not the one to usually focus on specifications and numbers. I focus more on how happy I am with the equipment's sound and that's it.

Disclaimer: All impressions and opinions in this review are my own. I have not been paid or compensated by Softears or any other entity for this review. My assessment is based solely on my personal experience with the product.

Introduction:
Let's talk about Softears for a moment. For anyone who's spent time in the audiophile world, that name carries a certain weight. They've really carved out a reputation for consistently delivering some seriously high-end IEMs, and frankly, I'm a huge fan.

There's a reason models like the RSV, RS10, Studio 4, the original Volume, and the Turii have become so well-regarded in the community. Softears just seems to get it. And personally? Their timbre is something I keep coming back to – it's just so natural, so right. I've absolutely loved my time with IEMs like the Twilight, and that signature Softears sound is something I genuinely appreciate.

They've built this reputation on consistency and a commitment to a certain level of quality, both in build and, crucially, in that refined sonic presentation. And now, we've got their latest release, the Volume S, on the table. Does it continue that legacy?

Sources used:

• iBasso D16
• Hugo 2 + 2go
• iBasso DC Elite
• Dethonray Clarinet

Specifications:

Driver Configuration : 10mm Silicone Diaphragm Dynamic Driver + 6mm Wool Paper Diaphragm Passive Dynamic Driver + 2 Balanced Armature Drivers
Impedance : Mode 1: 31.2Ohms @ 1kHz / Mode 2: 9.8Ohms @ 1kHz
Sensitivity : Mode 1: 114dB/Vrms@1kHz / Mode 2: 124dB/Vrms@1kHz
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
Cable : Interchangeable 3.5mm/4.4mm plugs, 2pin 0.78mm oxygen-free copper braided paracord cable

Box Contents:

1. Softears Volume S
2. IEM cable
3. 3.5mm Plug
4. 4.4mm Plug
5. Adjustment tool
6. B-type eartips * 3 pairs (S/M/L)
7. UC eartips * 3 pairs (S/M/L)
8. Storage case
9. Dust paper
10. Portable bag
11. User manual
12. Brand card

Unboxing Experience​

There's a certain ritual to unboxing new audio gear. A moment of anticipation, hoping the presentation matches the promise of the sound. The Volume S arrives in a relatively straightforward package, no excessive fanfare, which I appreciate. It feels purposeful, not overly flashy.

Inside, the immediate impression is one of thoughtfulness. They haven't skimped on the essentials. You get the IEMs themselves, nestled securely. Then there's the cable, neatly coiled. And the accessories – ah, the accessories! It’s a generous spread. You get the standard IEM cable, which we'll talk about more in a moment. Crucially, you get both the 3.5mm plug and the 4.4mm plug, offering flexibility right out of the gate without needing extra purchases. A small but important impedance adjustment tool is included for the tuning switch (though as I'm going to discuss below, I found the low impedance mode to be the sweet spot).

Ear tips are often an afterthought, but Softears provides two different types: three pairs of B-type eartips and three pairs of UC eartips, in S/M/L sizes. This is fantastic because tip rolling can make a significant difference to both fit and sound, and having options in the box is always a win. There’s a rather nice IEM carry pouch, which feels supple and protective – essential for keeping your investment safe. A little piece of dust paper is included, a small touch but useful for keeping things clean. The main IEM Carry case is a compact, leather-like pouch, perfect for slipping into a pocket or bag on the go. And of course, the standard fare: a user manual and a brand card. It’s a complete package, nothing feels missing, and the inclusion of both termination plugs and multiple tip types is a definite plus. It feels like they want you to get the best out of them from the get-go.

Design and Build​

Now, let's get tactile. Holding the Volume S IEMs, the first thing you notice is their lightness. The shells are made from a 3D-printed resin, which contributes to this. They have a matte black opaque finish, which gives them a subtle, understated look. The faceplate is a combination of metal and a carbon fiber accent, adding a touch of visual interest without being gaudy. There’s a small tuning switch on the faceplate, which is integrated quite cleanly into the design. The overall shape is ergonomic, clearly designed to fit the contours of the ear. They feel solid in the hand, despite being lightweight; there's no sense of flimsiness. If there's onething that I didn't like is that the faceplate is prone to scratches easily and are visible at certain angles when the light falls on it.








The cable is a braided design, covered in a cloth-like material. It feels pliable and doesn't retain much memory, which helps with handling. The modular termination system is cleverly implemented, allowing you to easily swap between the 3.5mm and 4.4mm plugs with a secure click. However, I did find the upper half of the cable, above the split, to be a bit prone to microphonics – you can hear it rubbing against clothing sometimes, which is a minor niggle but worth mentioning. The pins connecting to the IEMs felt secure and well-seated. Overall, the build feels durable and well-executed for the price point, with the resin shells and carbon fibre faceplates striking a good balance between weight and perceived quality.

Wearing Comfort​

This is highly subjective, of course, but for my ears, the Volume S proved to be exceptionally comfortable for extended listening sessions. The lightweight resin shells are a major factor here. The ergonomic shape, which appears to be a semi-custom molded design, fits quite deeply and stably in my ear canal. Once they're in, they pretty much disappear, allowing you to focus entirely on the music.

The nozzle diameter is on the smaller side, which I find generally improves comfort for longer periods. With the UC ear tips from the included selection, I achieved a secure seal without any undue pressure or discomfort. I wore them for several hours straight on multiple occasions and experienced no fatigue or hot spots. They stayed put even with moderate movement. For me, the fit was a definite strong point, contributing significantly to the overall positive experience.

Driveability​

Now, the fun part – plugging these into various sources and seeing how they react. The Volume S has a relatively low impedance in its preferred mode, so it's not particularly demanding, but like most IEMs, it does scale with better sources.

First up, the Hugo 2. This pairing was, as expected, excellent. The Hugo 2's clean power and resolving nature allowed the Volume S to perform at its best. The bass felt tightest and most controlled, the midrange had the most texture, and the treble was at its most refined. There was ample headroom, and the dynamics felt most explosive. This is a pairing that truly lets the Volume S sing, showcasing its technical capabilities.

Next, the Dethonray Clarinet. This DAC AMP has a slightly warmer, more musical presentation, and it paired beautifully with the Volume S. It added a touch more richness to the lower midrange and mid-bass, making vocals sound particularly lush. While perhaps not as clinically revealing as the Hugo 2, the Clarinet brought out the musicality of the Volume S, creating a very engaging and enjoyable listen. The dynamics were still strong, and the overall presentation felt very organic.

Moving to a bigger portable option, the iBasso D16. It drove the Volume S with ease. The sound was still very good – clear, dynamic, and well-balanced. You get a good sense of the Volume S's core strengths: the natural tonality, the punchy mid-bass, and the resolving upper mids and treble. While perhaps not reaching the ultimate levels of resolution or dynamic range of the desktop sources, it's a perfectly viable and highly enjoyable pairing for on-the-go listening.

Finally, the iBasso DC Elite. This is another powerful dongle, and it also drove the Volume S effortlessly. The DC Elite's clean and detailed output complemented the Volume S well. I found the sound to be slightly more neutral compared to the D16 pairing, with excellent clarity and separation. It highlighted the technical aspects of the Volume S effectively, offering a highly resolving and transparent presentation. It's a fantastic portable pairing that allows the Volume S to stretch its legs and show off its detail retrieval capabilities.

The Impedance Switch - A Tale of Two Tunings (and a Flimsy Tool)​

Ah yes, the impedance switch. A feature designed, presumably, to offer tuning versatility. Softears includes a small adjustment tool for this purpose. It's a tiny plastic thing, and frankly, it feels like it might snap if you look at it funny. Trying to use it to flip that minuscule switch felt precarious; I was genuinely worried I'd twist off the tip! A simple metal alternative would have been so much more reassuring. This plastic tool feels like a bit of an oversight in an otherwise well-thought-out package.

Anyway, setting aside the tool's fragility, let's talk about what the switch actually does to the sound.

Low Impedance Mode (I'll cover the good stuff in detail below!)​

High Impedance Mode (Yeah, About That...)​

Okay, let's talk about the high impedance mode. Or perhaps, let's just acknowledge its existence and move on? Frankly, I wasn't impressed. It feels like an unnecessary addition that detracts from the Volume S's strengths.

Switching to this mode immediately changes the sound in a way that, to my ears, is not for the better. The overall tonality becomes significantly thinner. The lovely warmth and body of the low impedance mode seem to evaporate. The bass loses its impact and texture, becoming less defined and less engaging.

Listening to "Billie Jean" in this mode, the bassline feels anemic, lacking the punch and definition that makes the track so infectious. The drums lose their authority. It's just... less fun.

The midrange also suffers. Vocals, both male and female, lose their richness and presence, sounding more distant and less natural. Tracy Chapman's voice in "Fast Car" sounds thinner, less grounded. The natural timbre takes a hit.

The treble, while potentially gaining a hint more perceived air, often comes across as more analytical and less smooth. On some tracks, I even found it could approach harshness, which is something the low impedance mode avoids so well. The subtle hint of sibilance I noted in the low impedance mode seemed more pronounced here.

Frankly, after spending time with the well-tuned low impedance mode, switching to the high impedance mode felt like a downgrade in almost every respect. It sacrifices the naturalness, the engaging bass, and the overall musicality that makes the Volume S appealing. It feels less coherent, like the different drivers are suddenly more apparent.

To be blunt, Softears could have saved themselves the trouble (and perhaps included a sturdier tool!) by just sticking to the low impedance tuning. It's the star of the show, and the high impedance mode, in my experience, just doesn't offer a compelling alternative. It's not a mode I would ever choose to listen in, and I suspect most people who enjoy the Volume S will feel the same way. It's a feature that, while present, feels entirely superfluous.

Sound Analysis: (Low Impedance Mode)

Tonality​

So, what's the first impression when the music hits? The Volume S immediately struck me as having a mild V-shape presentation, but executed with a rather grown-up restraint. It leans towards a warmer profile, but it avoids sounding overly thick or muddy, which is a common pitfall. There's a sense of naturalness to the overall sound, a kind of effortless quality that makes it very easy to sink into long listening sessions. It's not aggressively analytical, nor is it syrupy sweet. It occupies a rather pleasant middle ground.

Take, for example, "Come Away With Me" by Norah Jones. Through the Volume S, her voice possesses a lovely warmth and body in the lower registers, perfectly complemented by the gentle bloom of the piano chords. It feels intimate, like she's right there. Then, switching to Daft Punk's "Giorgio by Moroder," the electronic elements, while energetic, don't assault your ears with excessive brightness. The synth lines have a smooth, almost analog texture, reinforcing that overarching sense of a natural timbre. It's a tuning that aims for broad appeal without sacrificing too much in the way of accuracy.

Sub-Bass​

Alright, let's talk about that bottom octave. The sub-bass on the Volume S isn't the kind that rattles your molars, and honestly? Good. What it offers is a very well-controlled and present rumble when called upon. There's a respectable sense of depth, reaching down confidently without becoming a one-note drone. The decay is quick enough to maintain clarity, preventing bass notes from bleeding excessively into the lower midrange.

Listening to James Blake's "Limit to Your Love," that signature bass drop has a palpable texture. You feel the air being moved, the underlying rumble is there, but it's tightly contained. It doesn't linger awkwardly; it arrives, makes its point, and recedes gracefully. This is crucial for maintaining overall musicality. On "Why So Serious?" from the Dark Knight soundtrack, the deep, sustained synth notes lay a solid foundation without becoming overpowering. You perceive the low frequencies distinctly, separated from the frantic strings and percussion above. It's a quality, not necessarily quantity, approach to the lowest lows.

Mid-Bass​

Now, the mid-bass is where the Volume S seems to flex a bit more muscle. There's a noticeable impact here, a satisfying punch that adds drive and energy to the music. It's not exaggerated to the point of sounding boomy, but it definitely provides a solid foundation and a sense of rhythm. The texture in this region is commendable; you can discern the distinct strike and resonance of kick drums and the plucky quality of bass guitar strings.

Cue up "Teardrop" by Massive Attack. The iconic bass line has excellent definition and punch. Each note is distinct, and you can really feel the rhythmic drive it provides. The decay here is well-judged – notes don't hang around longer than they should, keeping things nimble. Moving to "Billie Jean" by Michael Jackson, the bassline is tight and groovy. The Volume S renders the impact of the kick drum with authority, and the walking bassline is easily followed, showcasing good textural detail without sounding flabby. It's a lively and engaging mid-bass that avoids caricature.

Lower Midrange​

The lower midrange on the Volume S feels warm and inviting. There's a good sense of presence in this region, giving male vocals and the body of instruments like acoustic guitars and cellos a natural weight and richness. It contributes significantly to the overall sense of naturalness and tonal density.

When I listen to "Fast Car" by Tracy Chapman, her voice has a lovely warmth and depth. The acoustic guitar strumming in the intro possesses a realistic body and resonance that feels incredibly lifelike. It’s not thin or reedy at all. On The Eagles' "Hotel California" (Live on MTV), the opening guitar arpeggios have a beautiful richness and the lower notes of the acoustic guitars are rendered with convincing presence. Don Henley's voice, while primarily in the upper mids, benefits from the solid foundation provided by the lower midrange, preventing it from sounding disconnected from the rest of the mix.

Upper Midrange​

Moving up, the upper midrange is where the Volume S maintains its clarity and retrieves a good amount of detail. Female vocals soar without becoming shouty, and instruments in this range, like violins or certain brass elements, cut through the mix effectively but smoothly. It’s a delicate balance, and the Volume S navigates it quite well in the low impedance mode.

Listening to Eva Cassidy's rendition of "Fields of Gold," her voice is wonderfully articulate and clear. The Volume S captures the nuances and inflections with excellent detail retrieval. It’s presented forward enough to be engaging without being aggressive. On Queen's "Bohemian Rhapsody," Freddie Mercury's layered vocals in the operatic section are distinct and well-defined. The clarity allows you to appreciate the individual vocal lines, and the instruments in this range, like the piano, have good presence and detail. It’s an engaging and resolving upper midrange.

Lower Treble​

The lower treble region on the Volume S contributes significantly to the sense of detail and air without introducing harshness. Cymbal hits have a crispness, and the leading edge of notes is well-defined. There's a good sense of presence that adds sparkle to the sound, but it's tastefully done.

In Hugh Masekela's "Stimela (Coal Train)," the percussion work is intricate, and the Volume S does a great job of rendering the detail in the hi-hats and other metallic strikes. You hear the distinct 'tish' and shimmer without it being piercing. The decay of these sounds feels natural, fading realistically into the soundstage. On "Flim" by Aphex Twin, the various percussive and electronic textures in the lower treble are presented with good definition and clarity. It’s a region that adds energy and insight into the recording without becoming fatiguing.

Upper Treble​

The upper treble on the Volume S provides decent extension and a touch of sparkle, contributing to the sense of airiness. It’s not the most extended treble I've ever heard, but what's there is smooth and generally well-behaved, avoiding excessive sibilance.

On Yosi Horikawa's "Bubbles," the high-frequency spatial cues and the sounds of the bubbles popping have a nice sparkle and are positioned well in the soundstage. The extension in this region helps to create that sense of space. While generally smooth, I did find on some tracks, like certain female vocal recordings with prominent 'S' sounds, that there could be a slight hint of sibilance, though it was far from offensive and largely dependent on the recording itself. It's a well-integrated upper treble that prioritizes smoothness over aggressive detail or extreme airiness.

Soundstage​

The soundstage presented by the Volume S is one of its pleasant surprises. It's not cavernous, but it offers a realistic and engaging sense of space. There's a good perceived width, extending beyond the confines of your head, and a decent sense of depth, allowing instruments to be placed both forward and backward in the mix. Height is perhaps the least pronounced dimension, but it's not completely flat. It creates a sense of being in the same space as the music, rather than just having it played directly into your ears.

Listening to The Eagles' "Hotel California" (Live on MTV), the applause at the beginning feels convincingly placed around you, and the instruments spread out nicely across the width of the stage. You get a sense of the players being distinct entities in the performance space. On "Bubbles" by Yosi Horikawa, the recording truly showcases the Volume S's ability to render spatial cues and depth. Sounds originate from different points, moving convincingly around and away from the listener, creating an immersive, albeit not colossal, soundstage.

Layering and Separation​

This is an area where the Volume S truly shines. The layering is excellent, allowing you to easily distinguish different musical lines and elements even in complex mixes. The separation between instruments and vocals is also top-notch for its price bracket. Instruments occupy their own space, preventing the sound from becoming congested or muddy.

Revisiting "Giorgio by Moroder" by Daft Punk, which can become a bit of a wall of sound on lesser IEMs, the Volume S keeps everything tidy. The different synth lines, the driving beat, and Giorgio's narration are all distinctly separated and layered. You can focus on any individual element you choose. On a classical piece like the opening of Stravinsky's "The Rite of Spring," the various orchestral sections are clearly defined and occupy their own positions within the soundstage. The placement of brass, strings, and percussion is precise, demonstrating impressive separation and layering.

Timbre​

The timbre of the Volume S is one of its most commendable characteristics. Instruments and voices sound remarkably natural and realistic. It avoids the artificiality or plasticky sound that can plague some multi-driver designs. There’s a rich and organic quality to the sound that makes acoustic music particularly engaging.

Playing "Buena Vista Social Club" tracks, the brass instruments have that wonderful metallic bite and resonance without sounding harsh. The percussion has a realistic impact and decay. The vocals on tracks like "Chan Chan" sound incredibly lifelike, full of character and nuance. The naturalness extends to acoustic guitar, piano, and strings as well. Listening to a solo piano piece, the hammer strikes and string resonances are reproduced with convincing realism.

Coherence​

Given its hybrid driver configuration (dynamic, passive radiator, balanced armatures), coherence is always a critical point of evaluation. Does it sound like disparate drivers trying to work together, or a single, unified source? The Volume S manages this remarkably well. The transition between the bass, midrange, and treble feels seamless and integrated.

There's no noticeable disconnect between the punchy dynamic bass and the detailed balanced armature treble. The frequencies blend together smoothly, creating a unified sonic picture. While you might, if you really listen critically on certain test tones, perceive the different drivers at work, during normal music playback, the effect is remarkably coherent. It just sounds like music, presented as a whole, rather than individual frequency bands stitched together. This seamless integration is key to its natural tonality and engaging presentation.

Detail Retrieval​

For a relatively affordable IEM, the detail retrieval on the Volume S is seriously impressive. It manages to dig out subtle nuances and micro-details in the recording without sounding overly analytical or fatiguing. It reveals things in familiar tracks that you might not have noticed before.

Going back to "Stimela (Coal Train)," you pick up on subtle breaths, finger movements on instruments, and faint background sounds that add to the realism. The Volume S doesn't shove these details in your face; they are simply there, available for you to perceive if you choose to listen for them. On a busy electronic track like "Giorgio by Moroder," the subtle textures and effects layered in the background are clearly audible, adding complexity to the soundscape. It’s a level of resolution that punches above its weight class.

Microdynamics​

The Volume S demonstrates good microdynamics, the ability to reproduce the subtle shifts in volume and intensity within a performance. This contributes significantly to the sense of realism and the emotional impact of the music.

Listening to a classical solo violin piece, the Volume S captures the subtle changes in bow pressure and the delicate swells and decays of the notes. You hear the fine variations in loudness that convey the musician's expressiveness. On an acoustic track, the delicate plucking of guitar strings and the subtle variations in vocal intensity are rendered with fidelity, allowing you to appreciate the nuances of the performance.

Macrodynamics​

When it comes to the big swings in volume, the macrodynamics, the Volume S delivers a respectable punch, largely driven by its capable mid-bass. Sudden crescendos and dramatic shifts in loudness are handled with authority, providing a sense of impact and excitement.

In orchestral pieces, the transition from a quiet passage to a full-scale orchestral outburst has a palpable sense of scale and power. While it might not have the explosive impact of some higher-end summit-fi gear, for its price, the macrodynamics are very satisfying. On a rock track with big drum hits and crashing cymbals, the Volume S conveys the energy and drive of the performance effectively, making for an engaging listen. It’s capable of delivering that visceral impact when the music demands it.

Conclusion:

So, wrapping things up on the Softears Volume S – particularly in that excellent low impedance mode – I've got to say, it's a compelling package. It's not just about the sound, though that's certainly the main event. It's the whole experience, right from opening the box.

The sound itself, in the mode that truly matters, offers a really engaging and natural presentation. That mild V-shape tuning with its lovely warmth and fantastic timbre makes music just sound right. Instruments and vocals have a realism to them that's genuinely enjoyable. Plus, it backs that up with solid technicalities – the layering and separation are impressive, and it pulls out detail without being overly sharp. The soundstage, while not massive, is realistic and draws you in.

Beyond the sonics, the Volume S scores points with its overall package. The accessories are generous and useful, giving you options like both 3.5mm and 4.4mm plugs right away. The design and build feel solid and well-thought-out, especially those lightweight resin shells. And speaking of shells, the wearing comfort is genuinely excellent; I could wear these for hours without a second thought. It's also reasonably driveable and scales nicely with better sources, which is always a good sign.

So, why consider the Volume S over other options in a crowded market? I think it boils down to its successful blend of a highly musical and natural tuning (especially that great timbre!) with strong technical performance, all wrapped up in a comfortable and well-accessorized package at its price point. It feels like an IEM designed to be enjoyed for long listening sessions, providing both detail and musicality without fatigue. While the high impedance mode and the flimsy tool are minor quibbles, they don't detract from the core strength of what the Volume S offers in its primary tuning. It's an IEM that delivers a cohesive and enjoyable listening experience, and for many, that balance is exactly what they're looking for.

Softears Volume S review.
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Hi, it’s me again, but this time with the $319 hybrid IEM, Softears Volume S. It utilizes 1 x dynamic driver, 1 x passive radiator, and 2 x balanced armature drivers for each side, with two tuning modes available (classical & pop). This was sent to me as a review tour demo unit, which was conducted by HiFiGo, it also means I don’t get to keep it, but as always, anything I say in this review is from my own thoughts and opinions, based on my perception. So, let’s see how good this sounds.

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The packaging is nicely done, elegant in design yet practical in execution. It includes a nice leather case, a manual, a metal Softears card, a microfiber cleaning cloth, a soft pouch that stores the IEMs so that they don’t scratch each other, a small plastic screwdriver to turn the tuning switch, a very nice modular cable with both the 3.5mm and 4.4mm plugs, 6 pairs of eartips, and the IEMs themselves.
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The shells of the IEMs are 3d printed with some carbon fiber in the faceplate. They are light and fit perfectly to my ears; there is no issue with pressure buildup. I can easily imagine myself comfortably wearing these for hours and hours.
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I like the cable a lot; it is cloth-wrapped and is soft and compliant.
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The switch setting I used for listening is the low impedance setting, which has more bass the high impedance setting. I find the high impedance setting too thin-sounding. I used the clear silicone ear tips for this review.


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I enjoyed it with my iBasso DC Elite, Letshuoer DT03, TRN Black Pearl, and Celest CD2 dongle DACs. I find it to sound good with any of these dongles, but ultimately used the TRN Black Pearl for the sound evaluation of this review due to its sheer neutrality in sound signature.
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I find that it has an average sensitivity, which is good, and can take a lot of power and go loud, as loud as I can listen, without any problems.
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Sound signature:
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It’s a mild V-shape sound signature that is bubbling in energy and never sounding boring. The bass and the treble are very well balanced, and the midrange is just slightly laid back. It sounds neutral enough that it is universally listenable, but not flat or neutral enough that it would sound boring on some songs; it sounds very well-tuned. The timbre is quite natural; I hear no inter-driver coherency issues or unnatural metallic sound.
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The bass is slightly boosted and slightly mid-bass focused; it sounds fast and punchy. I can hear a nice thickness or density to the texture in the bass that sounds pleasant to listen to. I speculate that the passive radiator is responsible for this. I like it.
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The lower midrange is mildly boosted, which adds warmth to the overall sound; it prevents the instrument note weight from sounding thin.
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Only the middle part of the midrange is slightly recessed; the upper midrange has a nice boost, giving it nice clarity to the vocals and instrument snaps, yet it doesn’t sound fatiguing or overbearing. The boost in the upper mids also gave this a very good imaging performance.
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The treble is very extended, smooth, airy, and nuanced; it has very good balance between macro and micro details.
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Technicalities:
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Above average in its price range, it has very good imaging, holography, sound staging, spaciousness, separation, layering, and so on. I’m happy to report that the Softears Volume S is very technically capable, but because of its well-balanced tuning, it sounds very musical as well and never sounds cold nor analytical.





Compared to the Moondrop Blessing 3 (319 USD):
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The Blessing 3 has about the same level of technical capabilities as the Volume S, but the sound signature of the Blessing 3 is much leaner, and somehow, there is an audible glitch in its elevated treble response, and when you combine that with the lean tuning, you have an IEM that is not suitable for long listening sessions, as far as I’m concerned.
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Compared to the Dita Audio Project M (325 USD):
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The Project M is a mild U-shaped sound signature set; it has slightly more sub-bass and upper treble extension than the Volume S. They are both equal in musical engagement, separation, and layering, with the Project having a slightly wider soundstage, but when it comes to imaging performance, the Volume S is the clear winner, plus it has a more natural timbre.
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Pros:
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+ Very nicely tuned and balanced-sounding set.
+ Excellent resolution for the price yet never fatiguing.
+ Natural sounding despite it being a hybrid IEM
+ Energetic sound
+ Musically engaging
+ Very good imaging performance
+ Nice cable and ear tips included

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Cons:
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- The tuning switch to me is useless; they should have set it to the low impedance internally and gotten rid of the switch idea so we could save a few bucks.
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Conclusion:
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I heard quite a few very expensive multi-thousand-dollar IEMs displayed at the recent Singapore CanJam event, and compared to those, the sound quality and technicalities of the Softears Volume S are not far behind. I guess the point of diminishing return for hybrid IEMs has shifted lower with the Volume S, meaning you can spend much more but get very little in return of the sound quality gain. I have to say this because I want people to put this into perspective: even though 319 dollars for Volume S isn’t cheap, I would still consider it a bargain based on my experience at SG CanJam. And thus, I highly recommend it.
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Happy listening, cheers!
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Non-affiliated purchase link:
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https://hifigo.com/products/softear...-J0bCOTy6jujqpDo4S_sMXgbDNpD6MEQHDDVOdSG4CGdY

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>>I am brazilian and I speak portuguese, so forgive my english, I’ll use translation tools to help<<


INTRO:

Unboxing
The box for the Softears Volume S immediately catches the eye with its stunning cover art, perfectly encapsulating the musical essence of the IEMs inside. It's a refreshing departure from the typical bland packaging that often features nothing more than standard images or renders of the product. Upon opening, you’re greeted with the earpieces nestled securely in foam cutouts, while beneath them lie the accessories—ear tips, a cable with interchangeable terminations, and a tool for adjusting the impedance switch—all housed within an exquisite leather carry case that exudes quality.



Accessories
Though the accessories included with the Volume S are few, each one is of high quality. The leather carrying case, for example, feels almost like something you’d store jewelry in—it’s not just functional, but luxurious. It’s also surprisingly spacious, offering ample room for the IEMs, their cable, extra ear tips, and even a dongle DAC. Speaking of ear tips, Softears includes their own Ultra Clear liquid silicone ear tips and a set of more common silicone tips, each available in sizes S, M, and L. The cable itself is high-quality, though not without its drawbacks. The interchangeable terminations offer flexibility, but I personally prefer fixed ones. That said, Softears’ locking mechanism is reassuringly sturdy, making it unlikely that you’ll accidentally lose or leave a termination behind when unplugging the cable. My main issue, however, is the cloth-covered design of the cable. While it looks attractive, cloth cables often suffer from microphonics, and unfortunately, this one is no exception. Lastly, Softears includes a small plastic tool for adjusting the impedance mode via a dial on the faceplates.

Build
The build quality of the Volume S earpieces feels robust and premium. The metal faceplate, with its carbon fiber inlay, lends a sleek industrial aesthetic, while the hole in the inlay houses the impedance switch. That said, I have some reservations about the design. I’m not particularly fond of the overall appearance—the brand and model names seem a bit out of place, as though they were tacked on at the last minute. The carbon fiber inlay also has an odd gap at the bottom that serves no apparent purpose. And the impedance wheel? It’s hard to ignore—it sticks out like a sore thumb, looking more like an imperfection than a design choice. Why brown? The color makes it even more noticeable, detracting from the otherwise decent faceplate design. The asymmetry of the slit on the impedance wheel adds to my annoyance. Moving on to the ear-facing side, the shells are made of resin and have a silky-smooth texture, ensuring a comfortable fit with the slight wing design and compact nozzles (5.6 mm in diameter). This combination results in a secure and snug fit. However, there’s one minor issue: the nozzles are open and lack a protective guard, so it’s essential to check for any earwax buildup when removing the IEMs. The two-pin connector is recessed, which can make cable swapping a little tricky, but it ensures a secure connection. There are no additional vents on the shell, keeping the design clean and streamlined.

Fit and Comfort
As mentioned earlier, the Volume S offers an exceptionally comfortable fit, thanks to its well-thought-out design. Pairing them with the Ultra Clear ear tips, I had no trouble wearing these IEMs for extended listening sessions. The secure fit also provides excellent passive noise isolation, allowing you to become fully immersed in the music.

Sound
For this review, I’ll be focusing on the Volume S in ‘Low Impedance’ mode, which seems to be the preferred setting for most listeners, myself included. I briefly experimented with the ‘High Impedance’ mode, but found it to be lacking in tonal balance and overall naturalness.
In ‘Low Impedance’ mode, the overall sound of the Volume S can be best described as musical and vocal-forward. The tuning strikes a balance between warmth and neutrality, with vocals placed front and center without overpowering the rest of the mix. This approach is in line with the frequency response graph, which shows an emphasis on vocals while still delivering clear and detailed instruments. In many ways, the Volume S offers a more refined experience compared to the Softears Studio 4, with improved bass response and more natural-sounding vocals.



Bass
The bass response on the Volume S is impressive, with great texture and detail. On tracks like ‘Waiting Room’ by Fugazi, the bass line is crisp and clear, allowing you to easily pick out individual plucks and even hear the strings making contact with the board. The mid-bass provides a satisfying punch, while the sub-bass is noticeably rolled off. For example, in Kendrick Lamar’s ‘tv off,’ you can feel the bass’s impact, but the deeper rumble is somewhat subdued. That said, the Volume S isn’t the fastest when it comes to handling busy tracks—on songs like black midi’s ‘Sugar/Tzu,’ the bass struggles to keep up with the rapid pace. On the plus side, there’s no noticeable bass bleed into the midrange, which contributes to the clean and precise overall sound.

Midrange
The midrange is where the Volume S truly shines. As mentioned, this is a vocal-forward IEM, and both male and female vocals are rendered with remarkable clarity and presence. The level of detail retrieval is exceptional, with subtle nuances like lip smacks and breaths in tracks such as ‘To Binge’ by Gorillaz feat. Little Dragon, enhancing the natural feel of the performance. Instruments may be slightly pushed back in the mix, but they are still present and well-defined, allowing for clear instrument placement. Even in busy tracks like Burzum’s ‘Dunkelheit’ or Candy Claws’ ‘Pangea Girls (Magic Feeling),’ the vocals remain clear and well-defined, while the instruments are separated with impressive precision despite the chaos in the mix.

Treble
The treble on the Volume S is a bit of a mixed bag. While it maintains the same level of detail retrieval as the rest of the frequency spectrum, there are moments when it can become a bit harsh. High-pitched sounds like cymbal crashes, sharp guitar notes, or certain ‘S’ and ‘Z’ sounds in vocals (such as in Charli XCX feat. Billie Eilish’s ‘Guess’) can become a bit piercing. Fortunately, these instances are relatively rare, and the overall treble presentation is still quite enjoyable.

Technical Performance
The Volume S excels in detail retrieval for its price, but its spatial and temporal resolution isn’t quite on the same level. While the soundstage isn’t particularly narrow, it falls short when reproducing the grandeur of live recordings or spacious venue performances. For example, in tracks like ‘Burning Down the House’ by Talking Heads or ‘Quia ergo femina mortem instruxit’ by Sequentia, the Volume S struggles to convey the full scale of the venue. The stereo separation, however, remains excellent, allowing you to track both vocals and instruments with ease throughout a track. That said, when faced with complex and fast-paced compositions like ‘Sugar/Tzu’ by black midi, the Volume S falters slightly, especially in terms of instrument separation. While still impressive overall, the technical performance leaves me wishing for just a bit more refinement to push these IEMs into the upper echelons of high-end audio.

Conclusion
The Softears Volume S stands out as an exceptional set of IEMs at its price point. While their appearance may not win any beauty contests, their fit and sound more than make up for it. With vocals at the forefront and instruments following closely behind, they deliver a musical and engaging listening experience. While they fall short in certain areas, such as technical performance, they excel where it matters most.



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Supplementary Information

Gear Used for Testing

iBasso DC-Elite (with iBasso CB19 adapter to allow for discrete data and power input)

HiBy x Evangelion R4 (high gain)

FiiO JM21 (high gain)

iFi Go Link Max (with Samsung Galaxy A53 + Neutron Music Player)



Test Tracks (all local files in .flac format)

Simulation Swarm – Big Thief

Hangin’ Round – Lou Reed

Sliver of Ice – ANOHNI and the Johnsons

To Binge – Gorillaz

Here Comes the Sun – The Beatles

Burning Down the House (Live) – Talking Heads

Waiting Room – Fugazi

Paranoid – Black Sabbath

Dunkelheit – Burzum

Pangea Girls (Magic Feeling) – Candy Claws

Sugar/Tzu – Black Midi

tv off – Kendrick Lamar

Teardrop – Massive Attack

Guess – Charli XCX feat. Billie Eilish

MSMSMSM – SOPHIE

Idioteque – Radiohead

4 – Aphex Twin

Part 2: Resolution – John Coltrane

Theme of Laura – Akira Yamaoka

Walking the Cow – Daniel Johnston

Quia ergo femina mortem instruxit – Hildegard von Bingen/Sequentia

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 staying 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.

The brand SOFTEARS became one of my favourite audio companies out there since I've tested some of their products a few years ago. And four of those models leave me with a long lasting impression of how incredible their tuning capabilities that were laid out on their midrange and top of the line model line-up. I actually posted a review on their previous initial-level midrange model last 2023, the all balanced armature driver configuration set, the SOFTEARS STUDIO 4 in which I put a high mark on it due its tonal performance on how it almost exactly aligned with my ideal neutral tuning curve.



SOFTEARS also known as Softears Acoustics is an audio company was established around 2017 in Shenzhen, which is the currently one of the major technological hubs in the world due to a strong presence of technology companies on both hardware manufacturing and software development and also known for its strong entrepreneurial and innovative spirit in the area. They also have their own R&D lab and factory in Chengdu and they have some strong connections with other audio companies like MOONDROP, TRUTHEAR and TANCHJIM that they might be some sort of a sister company although the latter company denied and refuted this claimed that they have a link to them as they stated that they are an independent company, so I might get a wrong information about this narrative. It is stated on their company’s goal that they will bring us, the audio connoisseurs, a product that ensures durability while it provide a soft and comfortable to wear and a well-refined balanced tuning for better listening experience.



The product that will be the main feature here is their latest initial-level midrange model, the SOFTEARS VOLUME S, and it has a hybrid driver configuration. This model is s a successor of the previous model, the SOFTEARS VOLUME which is also a hybrid driver configuration IEM but this one has more drivers with some newly developed technologies and some features that makes this set more of a standout and a refined one compared to its preceding model.




The VOLUME S’ internal layout consists of two dynamic drivers (actually, the other one is an inactive driver that functions as a passive radiator as I read some information from its official marketing ad of this particular model) and two balanced armatures sourced from a reputable audio solution company. The dynamic driver of this one is a 10mm dual-chambered structure with a diaphragm consisting of titanium coating on its dome with a thin layer of silicon on its frame to have better tensile strength, flexible and better performance of electro-mechanical operation that greatly reduces distortions, while the passive driver which was placed inverted on the active driver driver has a wool-like material on its diaphragm, and with combination of these drivers, they will deliver a tactile, deep and voluminous bass quality. The balanced armatures that were implemented here were a customised ED series (most likely derived from ED-29689) model midrange BA driver which were use on Etymotic ER4B and Westone UM-1, and the other one is WBFK-series tweeter BA model (probably a tweaked WBFK-30095 one), and with the combination of these BA drivers, they will deliver a clear, detailed and crisp in the midrange and treble sections. And then, both of these BA driver series are from KNOWLES product catalogue so most likely, these ones were produced by the said company in collaboration with SOFTEARS. Each of the drivers were connected to an acoustic tube as it ensures low latency channeling for smooth, consistent and reliability on its frequency phasing distribution. There are some interesting audio technology that were implemented here like rear-chambered pressure release structure for better bass definition while having less ear fatigue as it releases some excess air pressure that were generated from its high performance driver in a sealed confinement of a shell structure and a RC tuning technology with a 3-way crossover that improves the performance of its electronic crossover circuitry with the components like mini resistor and capacitors with some complex layout series of acoustic microcircuitry that compensating and filtering some signal that runs along with it to deliver an accurate, clear and consistent means within its full sonic reproduction. These new audio technologies that were introduced here in VOLUME S are to a certain degree analogous to AFUL’s vaunted High-damping Air-Pressure Balance System and RCL Network Frequency Division Correction Technology.



The drivers along with other components were encased in composite shell chassis consisting of a CNC-milled aluminium alloy cavity base that underwent via anodising and sandblasting process that achieves its velvety and a matte-like finish on its surface and a faceplate panel which are also aluminium alloy with a forge carbon fibre on it to give that distinctive marble-like patterns to give that varying gleaming effect on different angles. It is also noted that it has a small inlet where the tuning knob was situated on how it was emplaced is a bit asymmetrical and misappropriated in my opinion.



On its wearability, despite its rather bulky size for an IEM, this one is able to give a comfortable fitting into my lugholes without any issues or some discomforts at all, neither ear fatigue nor occlusion effects. With the included stock ear tips, the premium UC Silicon Eartips, it does its job well-done that it offers an excellent passive noise isolation as it is effective to block some unwanted external noise from the outside surroundings.



The stock cable of this one looks quite premium and while its thickness is more on a balanced side, it was constructed with a four-core structure with a multi-strands of pure copper that were braided-sheathed with nylon fibre as its insulating material in which offers durable, flexibility and strong resistance with a silk-like feeling whenever we touch it. Another notable feature that this cable has was its modularity on its termination plug which makes it even more versatile to be used on some audio devices especially with balanced output and aside from 3.5mm single-ended termination plug, SOFTEARS also included a 4.4mm balanced termination plug. And there are some slight issues that I want to address that this cable produces some mild microphonic effects whenever I’m in a physical activity while wearing it as whenever it contacts my clothes.



When it comes to product packaging, like a usual midrange set, it is well-presented with a matte-like velvety surface of its packaging box. The product packaging box has some stylised illustration of a product model on its front and some frequency range graph, basic specification and company addresses on its back part. Inside of its packaging box, it is well-packed with quantifying amounts of accessories.



Here are the following contents that we can find inside of its packaging box:

• Pair of SOFTEARS IEM transducers
• Modular stock cable
• 3.5mm termination jack adapter
• 4.4mm termination jack adapter
• Earpiece mesh bag
• PU-leather storage case
• Three (3) pairs of SOFTEARS UC eartips of different standard sizes.
• Three (3) pairs of B-type eartips of different standard sizes.
• Cleaning cloth
• Metal card with series production number.
• Paperwork like user’s manual and a QR code card

As for amplification and drivability, since this one has two impedance modes within its electronic crossover system which offers different sensitivity and resistance output rating, low impedance mode has an 9.8Ω while high impedance mode was rated at 31.2Ω, and these modes will have different scalability in terms of power output as low impedance mode will be easier to drive from the devices with a normal gain mode output without any distortion while on high impedance mode, it requires either medium or high gain mode to amplify it to achieve that optimal amplitude level. On both impedance modes as long as it was properly intensified with its respective power output requirement, this one will deliver a dynamic, vivid and full range sound.



When it comes to tonal signatures, it also corresponds with impedance modes that offer two distinctive sound signatures.



LOW IMPEDANCE MODE - a balanced-neutral sound profile with a slightly accentuated low frequency.
HIGH IMPEDANCE MODE - it will sound more aligned with a neutralish-bright sound profile with a more prominent on the upper-mids section and high frequency.




LOWS/BASS:

LOW IMPEDANCE MODE

In this setting, the bass quality of this one is well-balanced as both sub bass and mid bass were equally presented in the bass region. On its overall sound quality of its low frequency, it will deliver a punchy, quite impactful and tactual bass response while maintaining a sense of segregation between the lows and the other frequency parts especially on the midrange.

There is still some sub bass presence to be grasped as I can still feel that rumbling sound that was generated from certain instruments like from low-tuned bass guitars and double-basses, octobasses, synthesisers and drum machines. The mid bass section seemingly has an adequate rich and dense texture on it that adds some ample weight on the notations on bass-clef instruments and deep male vocals.


Instruments:

Bass guitars - they have a sufficient weight and resonant sound on their bass grooves.
Double-basses - compared to the bass guitars, it sounds more broader and has a bit of a sombre sound.
Bass trumpets - it possesses a good dark timbre and full sound.
Bass kick drum - on every stroke on its drumhead, it has a full and sonorous sound.

Vocals:

Basses - it has a deep reverberating voice with a darker timbre.
Bass-baritones - they sound resonant with a bit wooly on its vocals.


HIGH IMPEDANCE MODE:

This setting will make the bass response more tighter but it has incisive and more rumbly and reverberating sound due to more focus on the sub bass presence while attenuates the texture quality of its mid bass. And also, the bass quality of this will sound cleaner and even more well-segregated.

The trimming of the midbass will somehow affect that note weight on some bass-clef instruments and low pitched deep male vocals


Instruments:

Bass guitars - these ones sound more rasping and violent sounding with less weight on it.
Double-basses - they have a sustaining but a bit hollowed and wafting sound.
Bass trumpets - it lessened a bit of that warmth and full sound that this instruments has
Bass kick drums - these instruments have a rumbling and thudding sound.

Vocals:

Basses - they still sound resonant with some reverberation but apparently it lessened its dark timbre.
Bass-baritones - it still retains that resonance on their vocals but in a less dense and dusky sound.


MIDRANGE:

LOW IMPEDANCE MODE

The midrange presentation is quite neutral but it still retains a right balance on its note texture to have a sufficient amount of warmth, richness and clarity. The vocal clarity of this particular setting sounds quite natural and articulate along with a lushness and smoothness on male vocals, and then, a rich and mellow sound on some types of female vocals. Meanwhile, the instruments on this one relatively sound organic yet melodic.


Vocals:

Baritones - warm, smooth and plush voices, some baritone subtypes like kavalierbariton, dramatic, verdi and baritones, they sound steely, full, richer and forceful respectively.
Tenors - the voices have its brassy, bold and clear sound, lyric tenors have that graceful yet piquant sound, spinto have that warm and resonance of their vocals and heldentenors have heady and richness on them.
Countertenors -they have these emotive, tender and velvety sounds from their typical registered falsettos.

Contraltos - they have a strong, hefty and smoky sound from their chesty vocals.
Mezzo-sopranos - musky, resonant and smooth vocalisation from their voices.
Sopranos - creamy and satiny with some richness on the vocals which will give a better definition on spinto and dramatic as they have a powerful, rich and delicate sound.

Instruments:

Guitars - balanced and with good presence on every plucking and strumming on its note strings.
Cellos - mellow, gentle and full sound from gripping on its bowstring and plucking on its strings.
Violins - lustrous, calm and sensuous sound on every latch on its bowstrings.

Trumpets - dark, full and warm sounding.
Trombones - round and full sound.
Horns - warm, sonorous and velvety sound.

Concert Flutes - mellow and rich sound.
Piccolos - delicate and graceful sound.
Clarinets - rich and warm sound.
Saxophones - velvety and gentle sound.

Snare Drums - it has full, hard and sharp sounds on every stroke on its drumhead.
Tom-toms - warm, resonant and round sound.
Field Drums - sonorous, sombre and full sounding.
Kettledrums - booming, deep and velvety sound.

Pianos - it has an even and a well-balanced sound as its rich, warm and sweet sound.


HIGH IMPEDANCE MODE

Compared to the LOW IMPEDANCE MODE, this one has a transparent, vibrant and energetic sound on its midrange presentation which sounds more open, lively and airy. This tuning will be more appealing to most females vocals, woodwinds and string instruments as they sound more crisp, sharper and delineating but there are some instances that too much boost might sound too sharp and a bit piercing. And so, we will notice a brighter tone on some countertenors, mezzo-sopranos and sopranos on vocal types and also on some classes of instruments like strings, woodwinds and some percussion instruments at expense of leaner male vocals presentation.


Vocals:

Baritones - smooth, soft and lighter while lessens some of its richness and warmth on its overall sound that makes it more ideal on light baritones and lyric baritones as they sound light, mild and mellow.
Tenors - dazzling, resonating and spicy sound which pairs well with leggero tenors which have more light and gleaming voice, and lyric tenors which sound more graceful and intense.
Countertenors - light and delicate with an added fiery sound from their falsetto vocals.

Contraltos - smoky but it has less bold, plushy and strength from its chesty voice.
Mezzo-sopranos - bold, lively and coppery sound.
Sopranos - they sound more silvery, ethereal and shining to the point that it produces slight metallic tone on them, coloratura and lyric types of sopranos will have more sharper articulation on executing a florid vocal passage with agile, bright and insouciant vocal sound.

Instruments:

Guitars - crisp and lingering.
Cellos - sweet, lively and incisive
Violins - vibrant, brilliant and sweet
Trumpets - less full on its tone but it sounds more brighter and glassy.

Trombones - intense, penetrating and vibrant sounding.
Horns - metallic and clear sounding.
Concert Flutes - clear, airy and light sounding.

Piccolos - bright, intense and a tad penetrating sound
Clarinets -dramatic and lively sound
Saxophones -reedy and forceful sound

Snare Drums - bright, clear but a bit dry sounding on every stroke.
Tom-toms -resonant and incisive sound but it has a less warmth on it.
Field Drums - menacing and stately sounding.
Kettledrums - substantial, resonant and a dry sound.

Pianos - it has a brighter sound as it has a clear, brilliant and a bit metallic tone on every press of its note keys.


HIGHS/TREBLE:

LOW IMPEDANCE MODE

This mode is more balanced on how it presents its treble quality as it sounds smooth, even and with enough airiness on its overall treble response. There is a mild lift on the parts of the upper-mids up to the presence section just to give some emphasis on clarity and definition for attack on instruments and vocal quality, and any chances of stridency, shrill and piercing sound will impossible to occur on this type of tuning while it doesn't sound too dark nor veiled.

Surprisingly, despite its balanced treble tuning, it has ample air on its brilliance treble region with a bit over the average intensity of its sparkle with a fair amount of harmonics on it. The overall quality of its treble will always affect the timbre of some treble-clef instruments.


Instruments:

Cymbals - lustrous and undulating sound on every stroke.
Hi-hats - a bit dull and soughing on its chick-y sound.
Glockenspiel - lustrous and brilliant sound on either mallet-type or keyboard mode.
Celestas - velvety, mellow and lustrous sound.


HIGH IMPEDANCE MODE

The treble quality of this is definitely on the brighter side of treble tuning as it sounds more scintillating, crisp and it has even more airy extension but there are some caveats that I will point out later. The upper-mids up to brilliance section on the treble region are noticeably accentuated and has a more boosted presence if it will be compared to the LOW IMPEDANCE MODE as it highlights to have a more crisper and sharper definition and better clarity on attack on instruments and more coherent vocals but at the expense of piercing, shrill and a tad higher-pitched that might be too fatiguing to some treble-sensitive folk.

It has a more airy and more intensity of its sparkle in the brilliance section as it more extends well across its frequency range and with a substantial amount of harmonics on it.


Instruments:

Cymbals - bright and brilliant sound on every hit on its head plate.
Hi-hats - it has that sloppy sizzling and resonant sound.
Glockenspiel - sound thin and shimmering on either mallet-type or keyboard mode.
Celestas - glassy, silvery and glistening sound.


SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

In both modes, it projects a spacious head stage on its overall dimension of its perceived sound field, but there are some slight difference especially on illusory height and depth perception as the LOW IMPEDANCE MODE has a depth of its sound/speaker stage while the HIGH impedance has notable better reach on its height selling.

Meanwhile on its stereo imaging, it presents a holographic spatial presentation as I was able to clearly pan out certain cues, its well-layered sections of tones and dynamic ranges of vocals and instruments with excellent depth and texture on its soundscape with good contrast in terms of separation. The resolution capability of this one remarkable as it is quite resolving both macro-dynamics and micro-dynamics as the macro-dynamics has a more concrete presentation on highlighting some varying degree of volume and loudness levels on differentiating between choral lines and instrumental passages while the macro-dynamics have a good sharp definition on retrieving some micro-details, nuances and grains from an audio track as it delineating a good amount of reverb tails on instruments and notational attacks and textures of instruments.

Cohesion of its hybrid driver configuration of this one is quite an excellent performer as it was able to deliver a homogeneous and harmonious presentation responsive transients on highlighting bass speed with a detailed, clarity and accurate sonic performance from pretty responsive vibrating armature tongue without any distortion or phasing issues.


PEER COMPARISONS:

KIWI EARS QUINTET

• KIWI EARS’ old initial-level midrange model and it also has a hybrid-driver configuration.
• But in terms of driver configuration, QUINTET offers four types of driver technology namely dynamic driver in dual set-up, dual balanced armature drivers, a micro-planar transducer and a piezo-electric driver encapsulated in a composite shell chassis.
• It doesn't have a tuning dial or any tonal switches solution as it only offers a single tonal profile.
• Compared to the VOLUME S, its product packaging is rather simplistic with just rudimentary inclusions inside.
• It has a mild u-shaped sound profile as it has more balanced bass response as it has punchy and rumbly sound while the midrange have a transparent, energetic and clean presentation and a bit bright and airy treble presentation but if it will be compared to VOLUME S, it has less warmer tonality even to its HIGH IMPEDANCE MODE.
• As for its technicalities, it has similar sound/speaker stage size but it has less immersive depth, a concave-like stereo presentation and less solidity on its macro-dynamics.

LETSHUOER CADENZA 4

• A cheaper and more affordable model that takes the namesake of its Top-Of-The-Line flagship model elder sister, The CADENZA 12.
• It also has a hybrid driver configuration consisting of a single dynamic driver and a trio of balanced armature drivers from SONION and KNOWLES encased in a composite shell chassis.
• It doesn't have a tuning dial but it also has good quality stock cable with modular termination plug feature, and unlike VOLUME S’ stock cable, it doesn't have any microphonic issues at all.
• Its product packaging is also pretty well-packed with quality accessories.
• It also has a balanced-neutral sound profile with a well-balanced bass response with ample punch and rumbling sound, a neutral, clean with ample warmth midrange and lustre with just modest amount of air.
• In terms of its overall technical performance, it has an above-average sound/speaker stage size but it projects a 3D-like atmospheric stereo presentation and a very resolving resolution capabilities.

THIEAUDIO HYPE 2

• An initial-level midranger from THE AUDIO and it also has a hybrid driver configuration.
• On its driver configuration, it has dual dynamic driver in an “isobaric” set-up and two SONION balanced armature drivers that were encapsulated in a resin shell structure.
• It doesn't have tuning switches but it also has a premium grade stock cable that, while it has an absence of modular features on its termination plug , doesn’t have microphonic effects.
• This one is also fairly stocked with accessories just like a midrange set should be.
• The sound signature of this one has a U-shaped profile with more sub bass presence on its general bass response, a slightly recessed but well-balanced midrange and smooth and neutral treble response with moderate airy extension.
• Regarding its technical performance, it has quite similar performance with VOLUME S as it also has moderately spacious sound/speaker stage, a holographic stereo imaging presentation with good resolution capabilities.

Once again, SOFTEARS really delivers such an exquisite product that can be called as a true all-rounder set as to how it performs in both facets of tuning excellence and as a technical performer. This set offers two distinctive neutral sound profiles with exceptional tonal balanced presentation across its frequency range, a well-rounded technical performance along with its fully-packed accessories that makes this set has a strong compelling presence in the midrange segment in the current audio market. For sure that this set still has some flaws but those concerns will be prevailed by its almost absolute overall product quality and will forthrightly recommend this IEM earphone model to other audio enthusiast who wants to elevate their portable audio pursuit who are looking for a more neutrally-tuned, excellent build quality and well-packed with inclusions

SOFTEARS VOLUME S is now available at HIFIGO, for those who are interested to purchase this set, I just provided a non-affiliated link below.

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


And to know more about SOFTEARS, here is my another review of their previous model.

◼ SOFTEARS STUDIO 4




SPECIFICATION:

MODEL: SOFTEARS VOLUME S
IMPEDANCE: 9.2Ω/31.2Ω
SENSITIVITY: 124dB/114dB
FREQUENCY RESPONSE: 8Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: (MODULAR) 3.5mm, 4.4mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER, (1) PASSIVE DRIVER, (2) BALANCED ARMATURE DRIVER(S)


Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *



P.S.

I am not affiliated to SOFTEARS nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like send my gratitude to Mr. Kerwin Wu and Hermine Qiu of HIFIGO for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Softears Volume S​

Preludium:
Softears is one of those brands that don’t need to advertise or even introduce themselves. Everyone is still eagerly awaiting their new products. They don’t have bad days or failed projects. This is largely due to the approach and very thorough testing preceding new presentations. Remember the legendary Volume? If so, you know what I’m talking about. The original Volume caused quite a stir in the audio market, offering an incredible amount for its fairly decent price. We had to wait a long time for the successor to this model, but that’s good, because it means that Softears has carefully considered the new deal and put a lot of work into the new design. The new VolemeS saw the light of day at the end of last year and once again caused quite a stir in the IEM market. The new design is based on a completely new design. Every aspect of the predecessor has been improved. First, the composite armature driver was separated and separate sound tubes were added, a passive dynamic driver made of a material resembling wool was added, and the main dynamic unit was redesigned. In addition, the crossover was rebuilt, or rather, two independent crossovers were developed and placed in a small housing. Two operating modes with completely different sound were also developed, and a new housing with an impedance switch was implemented. I admit that it made a huge impression on me too. Especially since the price was kept at a very friendly level of 319 USD.

Specification:
-Impedance: 9.8Ω@1kHz(Low Impedance Mode), 31.2Ω@1kHz(High Impedance Mode).
-Sensitivity: 124dB/Vrms(Low Impedance Mode), 114dB/Vrms(High Impedance Mode).
-Frequency Response Range: 8Hz~40kHz.
-Effective Frequency Response: 20Hz~20kHz.
-THD+N: <1%@1kHz.
-Connector Type: 2-Pin 0.78mm deep implementation.
-Termination Plugs: 3.5mm+4.4mm.


Unboxing and ergonomics:
If you like luxury and want to feel like a real winner, you should buy Softears products. There are no coincidences here, each element is packed with due care. In the cardboard packaging with prints, we will find a lot of accessories. First of all, a leather case made of ecological material, with a large capacity with a zipper. There was also a tool for changing the impedance switch, two sets of proprietary tips (made of liquid silicone, and those referred to as default). We will also find a bag for transporting our headphones, a chamois cloth for cleaning and a headphone cable. As for the cable itself, it is of very good quality, it was made in a braid of pure copper. We also have interchangeable 3.5 and 4.4 mm plugs. Unfortunately, there is no adapter for 2.5 mm and although I understand such a decision, because the 2.5 mm standard is currently withdrawn, many people still have devices supporting this solution and it would be nice to see a 2.5 mm plug as well. The headphones themselves are black this time, and the front panels are made of carbon fiber and an aluminum frame. The body itself is cast from matte resin with longer sleeves. The ergonomics are great, and the isolation from the environment is simply excellent. If someone like me has no problems with the deep implementation of the headphone nozzle, then these are certainly one of the most comfortable headphones on the market. The quality of workmanship is phenomenal and there is no doubt that it goes far beyond the price at which the Softears VolumeS was priced. On the front of the front panels we will also find small impedance switches, they should be turned with the included plastic tool to the right or left to obtain the appropriate mode. The new Softears VolumeS are also three-way and have three independent sound holes, instead of two in the Volume model.
Sound:
As test material, I used music from Tidal and my own high-quality files. My main source in this case was the digital-to-analog converter from Softears SO1 dedicated to this model. I decided to use it as a source because it is specially tuned to work with this model of headphones.

Low tones:
Depending on the mode we choose, we can get two completely different signatures. In the high impedance mode, the ubbass is clearly boosted and offers an entertaining, pop character. Which is in line with the description on the manufacturer’s website. We will have more energy and more noticeable rumble in the low tones. However, don’t worry, the other bands will not suffer. If we decide on the lower impedance mode, the low tones will become noticeably calmer, offering us a more subdued sound. Of course, the low tones will still be present, but they become more linear and are not as strongly boosted as in the low impedance mode. This can be felt in the case of instrumental or symphonic music. Along with the smaller amount of low tones, we can also feel an increase in detail and a calmer, less tiring character of our music. I am glad that Softears decided to use two unique sound signatures in the VolumeS model. This allows you to completely adjust the sound to your own preferences or to the material you are currently listening to.

Average sound tones:
In the low impedance mode, in my opinion, the vocals are closer and more direct. This allows you to feel more emotions, but at the same time can cause faster sound fatigue. The instruments remain perfectly exposed, and each is in its place, presenting a huge amount of information, when it comes to the sound stage, it is not only wide, but also has a lot of depth, which makes it an ideal sound plan. All lovers of a large sound stage will certainly not be disappointed by the VolumeS presentation. In the high impedance mode, the stage, in my opinion, becomes even more extensive, wider. The vocals are more linear and have even more information. At the same time, the sound takes on a less entertaining character, which will be appreciated by lovers of classical or acoustic music. The high impedance mode also offers more tonal balance and works well in situations when we feel like listening to our favorite music more calmly, longer. I would rate the overall sound as very natural and focused on a natural musical presentation.

High musical tones:
In the low impedance mode, the sound in the high tones area is quite exposed. At the same time, Softears VolumeS presents the high tones in such a way as not to generate a feeling of fatigue or overwhelm with high tones. However, if you are looking for a little more shine in the higher tones, the low impedance mode will certainly meet your expectations. If we feel like changing the signature, the high impedance mode comes to our aid. At this point, the high tones change significantly. In the high impedance mode, the high tones are softened, becoming smoother. This allows you to enjoy music for many hours without feeling tired. At the same time, our musical presentation becomes calmer and more linear, which allows you to focus more on the details, or minimize the feeling of fatigue during longer listening. Regardless of the selected mode, the music remains natural, open and engaging for the listener. The amount of detail and detail recovery are at a very good level, at the same time our music remains natural and is presented in a realistic way.

I would also like to add a paragraph about the USB C dongle from Softears:
Softears SO1:

Specification:

-DAC: CS46L41
-Frequency Response: 20Hz-20kHz
-Weight: 4.3g
-Total Length: 9.8cm ± 0.5mm
-Dynamic Range(DNR): 118dB
-Sampling Rate: Up to 384kHz/32bit
-Signal-to-Noise Ratio (SNR) @ 1kHz 0dBFS: 121dB
-Crosstalk Suppression @ 1kHz 0dBFS: -54dB
-Cable: EnduraFlex silicone with braided outer layer
-Compatible Analog Earphone lmpedance: 8-100Ω
-Total Harmonic Distortion + Noise (THD+N) @ 1kHz 0dBFS: -98dB

Apart from the specification itself, it is worth mentioning that the price of Softears SO1 is currently only 25USD, which is a very good price-quality ratio. Because in terms of sound, Softears SO1 provides very good dynamics, fast and compact musical presentation and small size ensure very good versatility of this adapter. Softears SO1 works particularly well with VolumeS, but it also played equally well with classic Volume, or other less demanding headphones in terms of current. Personally, I am very impressed with the quality of sound that can be heard from such a small and well-priced dongle.

Comparisons:

Softears VolumeS (319USD) VS Softears Volume (289USD)
Softears VolumeS is not an evolution of the Volume model, it is a true revolution and practically a rewrite of the entire design. This resulted in great sound, a much more coherent signature with a larger stage, plus we get two independent tuning modes and a much more mature tuning. Softears Volume were already great headphones with an above-average price to quality ratio. If you like strong bass, you will definitely like the Volume tuning. However, if you want a more mature sound offering more in terms of vocal clarity and coherence, or a wider and more extensive soundstage, then it is definitely worth paying extra for VolumeS.

For whom will Softears VolumeS be a better choice:

-For lovers of a more balanced sound
-For those looking for more flexibility in tuning
-For vocal lovers

For whom will Softears Volume be a better choice:

-For those with a smaller budget
-For those looking for more amplification in the low tones
-For lovers of more entertaining tuning

Softears VolumeS (319USD) VS LETSHUOER S15 (259USD)

Softears VolumeS offer a very pleasant and smooth sound with a very clean and natural presentation. However, thanks to the used planar transducer, letshouer s15 offer a faster presentation, which has been even more softened. However, when it comes to the amount of detail in the sound, VolumeS are definitely my favorite. A lot depends on our personal preferences, if you like a smooth sound and focus on the most peace in tuning, then s15 will be a very interesting proposition. However, if the priority is the universality of sound and the focus on the realism of the presentation, then VolumeS becomes a must-have item.

For whom will Softears VolumeS be a better choice:

• For lovers of more universal tuning
• For people looking for less smooth tuning
• For people looking for a more detailed presentation

For whom will LETSHUOER S15 be a better choice:

• For people looking for the most smooth presentation
• For lovers of planar sound
• For people looking for a fast planar presentation

Softears VolumeS (319USD) VS BGVP DM8 (349USD)
Softears VolumeS are headphones that focus on versatility and universality, their signature is extremely natural and realistically reflects both the sound and the general character of the music. BGVP DM8 is a completely different approach to tuning. Here we have more boosted bass and tuning focused on entertainment and colorful musical presentation. I still rate the DM8 as very good armature headphones with a very entertaining presentation. So if we focus on naturalness and versatility of sound, then the Softears VolumeS will certainly make just such an impression. If we are looking for an entertaining, colored sound with a lot of bass, then the BGVP DM8 will certainly prove to be an interesting alternative to listen to.
For whom will the Softears VolumeS prove to be a better choice:

• For lovers of natural sound
• For people looking for a more universal tuning
• For people looking for headphones with a larger sound stage

For whom will the BGVP DM8 prove to be a better choice:

• For lovers of colorful sound
• For people who like armature sound
• For people looking for a greater boost in low tones

Summary:
Softears VolumeS are amazing headphones that offer much more than their price might suggest. We get not one, but actually two pairs of excellent headphones, the impedance switch function completely changes the character of our headphones. The quality of the materials is phenomenal, and every accessory in the set is well thought out and properly packaged. At their current price, Softears VolumeS are definitely one of the best offers on the market. This is a huge improvement over the previous model. When it comes to versatility and sound quality, these are some of the most cost-effective headphones on the market. However, great sound quality is not everything. Softears VolumeS provide excellent build quality and great accessories. If we need a more entertaining presentation of our music, the low impedance mode will provide it completely, and if we prefer a slightly more calm and subdued presentation, by choosing the high impedance mode we can adjust our sound to individual preferences.
The strengths of the Softears VolumeS are:

• Excellent tuning versatility
• Two impedance modes with separate sound signatures
• Excellent value for money
• Excellent build quality and comfort
• Natural and extended sound signature

What I would improve in the Softears VolumeS:

• I would like a 2.5mm plug included
• I would like a headphone nozzle cleaner included.

SOFTEARS VOLUME 4

Let's get started. So I'd like to start by thanking HiFiGo for the opportunity to review this unit. Thanks muchly. Appreciate it greatly. This is my first chance to hear a Softears IEM. This company has so many legendary IEM releases, but for whatever reason, has managed to elude me, until now! I will admit, I was filled with quite a bit of anticipation for this set. More so that maybe any set since the AFUL Cantor. So when they finally landed, and I was able to pop them in my ears, well, the wait and anticipation was founded and rewarded. But let's not get ahead of ourselves now. What would be the point of reading through this review if I gave too mucch away in the opening salvo? Amiright?! So buckle your seatbelts and prepare for a 100% unbiased review with heartfelt observations and thoughts. Now on to the fun stuff.



The unboxing experience was stellar! Magnetic flip top box that contained an absolute bevy of accessories and goodies. A clear sheet that said "Hear the Truth" awaits you. Lift that, and you have the IEMs themselves, warranty info and other paperwork in a nice black envelope, and then lifting that, it reveals a gorgeous black faux leather hard case, two boxes of tips (including the awesome UC tips), modular cable jacks, a very nice modular cable, a USB-C dongle dac (S01), and the dial turning tool. How packed is that?! So I was able to actually use the stock UC tips this time, which is a rarity for me and stock tips, and for a good long while, I used the stock modular cable. Yes, I inevitably did some cable and tip rolling, but that's just my obsessive quality, and not in any way an indictment of the overall quality of the stock tips and cable. Fitment is excellent. The shells are moderately large, to medium large, but the fit was very comfortable, they sit flush, and don't get uncomfortable or itchy over long listening sessions, or pop out or need reseating. The faceplate looks really nice. Sorta retro in appearance, and the dial that you can toggle between low and high impedance mode to change tunings is quite small and unassuming, but fairly easily (fairly, as it can be hard to actually see the indent, where you place the tool edge) to adjust between the two choices.



So now that we have the unboxing experience out of the way, let's move on to the sound? That's what you're all here for anyways!! It's time to get it on!!...but first, let me share with all of you some information about the IEMs themselves. Internals, specs, and a graph? Fun times indeed!



THE SPECS :

Softears Volume S :

TECHNICAL INFORMATION :




Frequency Response graph provided courtesy of SoftEars.

PRICE : $319.00

Available for purchase at this location.

The Gear :

What did I use for my listening sessions for my review??

For this IEM, I tried it out on quite the swath of sources, to make sure I wasn't leaving out any potential synergy with sources. so went with the FiiO JM21 (high gain, slow roll off filter, untethered), which is a bright leaning DAP + the iBasso DC Elite. This also included the Cayin N3 Ultra (Modern Tube mode, No EQ, H Gain, slow roll off filter, untethered), Hiby R3 II (tethered to DCE), iBasso DX170 (high gain, NOS, untethered), Sony NW-A25 (untethered), Sony NW-A55 + FiiO Q1 II, Sony NW-A306 + iFi Go Link Max (excellent synergy), and the Shanling M1 Plus. All represent high quality play back, with FLAC, DSD, and occasional 320 mp3. So the IEM's technical performance is well represented with this collection of sources. The DCE provided a fuller sound scene, a more impactful bass that the other sources did not provide (minus the bass EQ'd NW-A25).



Music used for the review and all my reviews in general?

Ezra Collective - Dance, No One's Watching
Robert Glasper - Canvas
Alfa Mist - Antiphon
Mary Halvorson - Amaryllis
Alfredo Rodriguez - The Little Dream
Bob Marley & the Wailers - Survival
Rob Van Bavel Trio - Dutch Weather
Kaisa's Machine - Taking Shape
Junior Kelly, Bounty Killer, and Capleton - The Good, The Bad, and the Blazin'
Dominik Eulberg - Avichrom
Mareike Wiening - Reveal
Abysmal Dawn - Phylogenesis
Megadeth - Rust in Peace
Pearl Jam - Ten
Cognizance - Phantazein
Crownshift - Crownshift
In Aphelion - Reaperdawn
Cradle of Filth - Nymphetamine
Shuffled Classic Rock, Reggae, and 80's Pop Music playlist

SOUND IMPRESSIONS :

(All critical listening done in low impedance mode - dial turned all the way to the left)

Dynamics : 5
Resolution : 4
Details : 5
Instrument separation : 4.5
Imaging : 4
Low End Impact : 4
Sibilance : 2 (negligible, but sometimes can be heard)
Soundstage : 4

Overall score : 4.4/5

BASS/MIDRANGE/TREBLE :

The Softears Volume S is one of the most dynamic, technical, but fun IEM's one can listen to in the under $400.00 bracket. All in. The soundstage is noticeable for it's fullness and dimensionality from the start, and there's clarity, detail retrieval, bass rumble, punch, and treble extension for days, and couple that with a class leading level of midrange incisiveness and really good imaging and instrument separation, while walking away from being analytical or warm, and you get a really immersive and engaging sound signature that pulls you in. Now there isn't a whole lot of warmth or lushness, but high levels of clarity and cleanliness without being dry, so we walk this cool high rope between musical and technical that's really unique. Imaging is very good, and the spatial cues can border on orbital, as notes and information can swirl around your head, with very accurate locations, but with a nice sense of space and transparency. The transparency in the midrange also assists with the really good instrument separation. Now is it BCD levels? Not really, but it's still impressive for an IEM not featuring the parlor tricks of BCD spatiality.

Bass is very fulfilling. Now it's not at basshead levels, so someone looking for high bass shelves, infinite sub bass, or pulsating mid bass need look elsewhere, but for anyone who lives their music with equal amounts of TASTEFUL rumble and punch, with a high degree of note incisiveness and resolution, then the Volume S will provide a sense of control and class that you don't find too often in the under $500 sets. Now you can go with an even more incisive and less present bass by going to high impedance mode, while cranking up the treble air and presence, but you also lose the spatial qualities and the excitement is also lost, despite the increased treble and midrange energy. Also the volume becomes much quieter and the IEM becomes harder to drive, so though some might enjoy high impedance mode (dial all the way to the right), it wasn't for me at all. Returning to the bass, the overall presence and impact is enough to faithfully and excitedly present genres like reggae, pop, funk, acid jazz, and hip hop with equal aplomb.

The midrange is special. Sharp (as in incisive), weighty, transparent, detailed, and only occasionally sibilant. I'd say it's more of a symptom of being very revealing, so poorly mastered tracks or albums will sound a bit rougher and sibilant, but mostly, this is not the case with good recordings, and you're treated to resolving and musical midrange that is slightly forward, immersive, and accurate. Notes have good weight, while female voices have a wispy emotiveness, and male vocals are not lacking for gruffness, gravel, or gravitas, despite there not being much warmth transitioned from the upper mid bass into the midrange, but there's enough. That seems to be the running theme of the Volume S. "Just enough." No detail is left unturned, as it has a very high level of detail retrieval, but it's not at the cost of being analytical (unless you go high impedance mode).

Treble is classy. It's got shimmer, air, texture, and openness, which helps with the full soundstage, which culminates in nice control across the upper and lower treble region, with only the occasional stridency. That might be the faint sniff of BA timbre? For the most part, it's a very natural presentation for being BA's, but these are branded and high class BA's, so the BA sheen and timbre stridency are kept to the minimum. Otherwise, what you get is a wonderfully crisp, incisive, airy, and shimmery treble that really providers rock solid clarity and an open quality to your sonic landscape. Softears really did a masterful job of tuning the Volume S to have a really natural, open, and fun signature with lots of details presented, while also maintaining a high level of control.



OVERALL :

The Softears Volume S is a rare class of elegance and energy. This is an IEM that retails for $319.00, but sonically can trade blows with IEM's in the $500, $600, $700, or even $1000 bracket. It's a ballerina and also a professional dancer. Equal parts finesse and fun. Sinuous and surly. All the while this is simply from the low impedance mode. If you factor in the high impedance mode, we're talking a versatility that's highly unusual for it's MSRP. It's an IEM that's equally at home with metal, reggae, acid jazz, funk, or hip hop. It can handle nuance as easily as it can handle raw details. All while providing a near orbital stage experience that full, open, and exciting. There's balance, bass, and even bombast, but rarely is it not controlled, and only when dealing with brighter sources or low quality mixes. Feed it the good stuff, and it rewards you with a beautiful, dare I say elegant playback, that's expressive, incisive, and resolute.

COMPARISONS :



Letshuoer Cadenza 4 ($249.00) : This was the comparison most requested when the Volume S landed, and the one admittedly, I was most excited for. The Cadenza 4, a 3 BA + 1 Beryllium dynamic driver, was for me a very unexpected love affair, and is clearly one of my all-time favorite IEMs. With this in mind, this turned out to be a heavyweight title bout. This was Ali vs Frazier. Tyson vs Holyfield. These two traded blows and salvos and it was as close as you can get to a toss up. The Cadenza 4 is balanced, technical, smooth, warm, and spacious. It's bass response is linear and resolving, but lacking impact and energy, while it's treble lacks air and is tuned relatively safe, but with a superbly natural tonality that's very pleasing to the ears. One of the main drawbacks is that it's thirsty for power. It's not as easily driven as the Volume S, so you need a powerful source to get the optimized sound out of the C4. The Volume S on the other hand, is easily driven from a phone or any source really, it's also balanced, but with much more bass rumble and energy, technical, spacious, and with more air and shimmer, but with occasional stridency on certain tracks and bright sources, with equally as incisive midrange. I'd say imaging and spatial cues lean towards the C4, but stage, detail retrieval, and instrument separation are on par. The Volume S might be a little more forward, but that might have to so with the upper mids and lower treble tuning being a much safer bet on the C4, as opposed the the brighter and more open tuning of the Vs. The C4 is more lush, warm, natural, and enveloping, while the Volume S is more open, fun, energetic both on the top and low end, and versatile. So it all depends on what flavor of balanced you're looking for or prefer? I think the most telling blow landed is that the Volume S can be driven much more easily, from more wide variety of sources, regardless of power specs, so when we go to the scorecard, it's a split decision victory - 102-100, 102-100, 101-101. But I'm still a huge fan of the Cadenza 4! Advantage : Softears Volume S.

ISN EBC80 ($700) : One of my most recent purchases. I bought this as a direct and clear upgrade to my beloved ISN H60. Now I was tempted to include the H60 as the other comparison, since it's closer in price to the Volume S than the EBC80, but I've already included the H60 in a couple previous reviews, so I decided to just compare it against the EBC80. The internals for the EBC80 are 2 DD + 2 BA + 2 BCD + 2 EST, so it's packed with drivers and special sauce! So yes, you're saying, but this thing has BCD drivers, so stage alone is going to be a wash in favor of the EBC80? Well, sorta. Sure. But really, it's not that big a difference in stage fullness and expansiveness between the two. I think where the BCD does take the advantage is in spatial cues and imaging, which is pretty much the same area the Cadenza 4 overtook the Volume S, but with a touch more space between instruments, and a more orbital feeling to the instrument placement, but it's not as overwhelming as you might think? Now the EST's provide a more natural texture and tonality to the EBC80, and this was definitely expected. I think air and shimmer are blow for blow even, and there might even be a tad more openness with the Volume S, which allows it to be able to trade blows with the EBC80 in stage without the benefit of BCD drivers. I'd go as far as saying that detail retrieval on the micro level (maybe not macro) and incisiveness land a body blow for the Volume S. The midrange is just a bit more bitey, resolving, and incisive with the Vs, as the EBC80 has a much WARMER tonality, and there's that blanket of warmth that covers the midrange of the EBC80 that while still clear and concise, isn't at the level of transparency and cleanliness of the Volume S. This does mean that female and male vocals have more body, grunt, fullness, and emotiveness coming from the EBC80 than the Vs, and bass impact, energy, punch, and rumble are all squarely in the EBC80 camp, as it sports a dual dynamic driver unit that is able to cleanly, incisively, and weightily outdo it's volume counterpart rather easily. That low end upper cut of the EBC80 is deadly! While the Volume S can pepper the EBC80 with midrange jabs, the EBC80 delivers the heavier punches, while the Volume S has more finesse and speed. The ISN EBC80 is also very easy to drive, and will show it's optimal colors on most sources, including the Sony's untethered, and it's equally an all-arounder, capable of providing a satisfying listening experience with almost every genre you can throw at it, while maintaining it's own high level of clarity It's a BOSS. So while in several rounds (sonic aspects), the Volume S was able to best the much more expensive (veteran) EBC80, at the end of the day, the scorecard was not as close as the previous bout -- 103-99, 103-99, 102-100. Unanimous, but ultimately, very close victory for the veteran EBC80. While the Volume S has the finesse and performance capability to trade blows with the ISN EBC80, reality dictates...Advantage : ISN EBC80.



CONCLUSION :

The highly anticipated Softears Volume S did not disappoint. It's an IEM that has lived up to it's good reviews in my eyes (and ears), and completely has redefined and reset what you should expect performance wise, accessories wise, and price to performance wise in mid-fi. This is the true game changer at $319.00. It would have been a game changer at $500. Again, this is not hyperbole. Anyone that doubts my words, do yourself a favor, and prove me wrong! I relish the opportunity for you to put your money where your mouth is, to shut mine. The thing is, once you do, you won't. You'll more than likely just thank me, and go about your business enjoying the music playing from your Volume S, and your chosen source, and you'll thank Softears for having the guts and the foresight to release an IEM that's so capable, so good, and so engaging at the low price point they did. It's also a testament to how far the IEM sector has come in just the last year, as we've gotten some outstanding IEMs from high end and well known manufacturers like the Dita Project M, Elysian Pilgrim, AFUL Performer 5+2, Letshuoer Cadenza 4, Noble Knight, and now the Softears Volume S. We're in a blessed golden age, and in a place where we can throw hyperbole out the window, and accept it as fact. Now, you don't have to take my assessment of the Volume S as fact. You can dismiss it at your own peril, but as you might know, my voice is on of a chorus of approving voices for the Softears Volume S, and it's that was for a reason. It's because sometimes ears don't lie, and sometimes hyperbole is certainty. In this case, I'm certain you'll enjoy the Volume S as much as I have, and I give it my highest recommendation and blessings. Yes. It's that good.

RECOMMENDATION LEVEL : MID-FI BOSS LEVEL - HIGHEST 9/10.

Introduction
Softears has been a longtime name in audio that I admire. As the sister high-end brand of the more popular mass-friendly Moondrop, Softears rather has been the no-nonsense side that focuses solely in bringing sound performance with pricing that caters to the niche enthusiasts. I cannot remember if they even had a mediocre release as the Twilight, RSV, Studio4, and the Turii are standouts in their own right. Now, they have come out with the successor to their entry model featuring a somewhat better build, two impedance modes based on your liking and an improved tuning that brings it amongst sidegrades to its pricier siblings. Let's take a look at the Volume S and right out of the gate, breaks the mold on how you perceive value and sound in this price range of $300+.




Build and Inclusions
The Softears Volume S comes in a configuration of an active dynamic driver + passive dynamic driver combo along with 2 full-range balanced armature units in a 3-way crossover. All housed in a 3D printed shell akin to a lesser opaque and more solid Moondrop Variations, along with an aluminum border and a carbon fiber faceplete. The Volume S also includes a soft braided paracord cable with interchangeable 3.5mm/4.4mm gold-plated plugs in 2-pin 0.78 connectors. The cable itself feels soft yet sturdy but it does have some bit of microphonics. Lastly, it comes with 3 pairs of UC eartips (similar to Xelastecs), 3 pairs of Softears silicon eartips, a microfiber cloth, some IEM shell pouches similar to Campfire Audio, a tuning switch tool and a faux-leather zipper case with enough space to contain the IEM, cable, and tuning switch tool inside. All of these packaged in a classy slide-cover black themed beauty box. Such a great value for a $300 Softears set without feeling cheap though they could have opted with a flick switch instead of a screw-turn dial fot the tuning modes but I guess it's to avoid unintentional adjustments.




Sound and Comparisons
Upon initial listen, the Softears Volume S already makes you feel that this is a very well-tuned set with enough energy to make your feet tap to the music without nitpicking much as the timbre sounding just natural and correct. For me, the Volume S is a tasteful V-shape signature but can also be a balanced set for others especially when using in low impedance mode. If you'll be using it for mobile use, it's worth a mention that it's very own Softears S01 dongle DAC ($25) is a good match and brings more forwardness to the mids and more thump in the lows, especially handy for your daily use. To begin with, the bass feels impactful yet clean and never overbearing or muddy; reaches deep but is still defined. The mids have body and heft but not too thick. For me, these have better note weight which the Variations should've aimed for back then to make it the ultimate set in its price tier. Not lean and brings the soul to every vocal track you listen to. High impedance mode though brings a bit more energy to the mids, to a point being near shouty but none too distracting since it also gives it a bit of airiness while transitioning to the highs. The treble has the right amount of presence, never too bright (except in high impedance mode wherein it may be a bit sharp for other listeners) bringing cymbals to life and shimmer but not overly done and stops the decay enough to avoid being distracting. Instruments and vocal layering remain clean and articulate. Staging to me though seem to be a bit narrow but has above average height and depth. High impedance mode does gives a more airy, breathy presentation and spaciousness at the expense of some peaks and brightness at times but for a more balanced and all-rounder tuning, the low impedance mode is the safer setting. In the end, the impedance switch really does cater to the moods and preference of the user, especially for those that can tolerate some treble peaks with the high impedance mode which really transforms the Volume S into a fun, lively set that still sounds correct. Comparing with sets around the $300 space, the DUNU x Gizaudio DaVinci is a bassier though tamer sounding compared to the Volume S. It has a warm-neutral signature with more bass quantity though is much less technical than the Volume S, with the DaVinci struggling a bit with busier tracks and has somewhat a bit nasal vocals. For those looking for a more detail-resolution oriented set with tech-centered and leaner presentation, they can go for the Blessing3 though the Volume S can be a corrected version of it when switched to high impedance mode so basically you're already getting 2 IEMs with the Volume S at the touch of a dial. If I had to compare the Volume S with a valid and equal competitor, it would have to be with the Moondrop x Crinacle Dusk. The Dusk has the advantage in technicalities along with its DSP options but I have to give it to the Volume S for having the soul and musicality to its overall sound. Both do have that delicate balance across the spectrum to cater to the audience majority and can do no wrong for having either in their arsenal.



Conclusion
To sum it all up, the Softears Volume S comes in as one of the more value-oriented versatile IEM this early part of the year at the $300 price mark. This is definitely one worthy to own and keep as it is one of the cleaner, correct-sounding sets in the market. Just the right amount of defined, textured bass. Mids have that certain heft and weight while having a smooth, non-offensive treble presentation at low impedance mode. Kick it up a notch with some more energy at high impedance mode if you fancy some toe tapping, head-bobbing fun. Blind-buying this does not disappoint and a must-audition for those looking to upgrade from their $200 sets.



Sidenotes:

IEM set has been listened via the Sony ZX-707, AK Kann Ultra, Softears S01, and ifi Go Bar Kensei separately using the stock silicon eartips and over the course of multiple genres across FLACs (16bit&24bit) and streaming (Tidal). The Softears Volume S is available in HiFiGo for $319.00 - https://hifigo.com/products/softears-volumes?variant=46139075035375

For the Softears S01 portable USB DAC it's available through HiFiGo for $25, check it out here as well - https://hifigo.com/products/softears-s01?srsltid=AfmBOoqZfTw-Ku8pwJpvi2gR78W2oia4EStiS14Dmxh5Z3ZhDb6I6Iih

#Softears #VolumeS #FirstImpressions #NotAReview

Your (Possibly) Pause IEM​

Softears Volume S​

With teasers popping up everywhere, from international groups to local ones, Softears finally released a new IEM in the 5-million-IDR price range after a long hiatus. Despite its seemingly simple 2DD + 2BA driver configuration, this model offers two selectable modes, adjusted by turning a screw on the faceplate. So, how does it sound? Is it as good as the other lineup from this brand?
Let’s dive into the Softears Volume S.

DISCLAIMER​

All impressions were tested using my usual setup (list below). If you notice differences in sound impressions, it's likely due to subjective hearing differences, defective units, or varying sources.All my impressions and reviews are subjective and follow the belief: “I might fool my savings, but my reviews? They’re always honest.” Agree? Great. Disagree? That’s fine too. I review because I enjoy it, not because I need to.

Important! I strongly recommend auditioning these yourself because, who knows, maybe it’s my ears that need an ENT doctor—or maybe it’s yours.

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MY DAILY DRIVERS​

IEMs:
Nostalgia Audio Camelot; Symphonium Crimson; 634ears Loak2 TX03; Timeless II; QoA Aviation; Softears Volume S
DACs:
Fiio Q15; Chord Mojo 2; XDuoo XD05 Pro
DAP:
HibyDigital M300
Cables:
Effect Audio 24c; Verus Lavender 6; VJC Heirs and Black Heirs; Kinera Mia
Ear Tips:
Eletech Baroque; Penon Liquor; JVC Spiral Dot++; Azla Sedna Max ASMR Kiwi Ears Flex

UNBOXING​

For a price range of $300, the unboxing felt luxurious and thoughtful. From the accessories to the build quality, the experience left a lasting impression on me at this price point. Here’s what you get inside:

• The IEMs
• 4-braid 2-pin modular cable (3.5mm and 4.4mm connectors)
• 2 types of ear tips, each in 3 sizes (Softears liquid silicone ear tips and another unknown type)
• Screwdriver
• IEM pouch
• Carrying case
• Cleaning wipe
• User guide

FITTING​

With a 2DD + 2BA driver configuration, this IEM comes with a fairly large shell. However, the size doesn’t compromise comfort due to ergonomic curves that fit snugly against the ear. The shell material—a mix of carbon fiber and aluminum metal—adds a rugged, stylish look. The inner side feels smooth, with a matte black finish.One potential fitting issue lies in the long and narrow nozzle, which may pose challenges for those who can't tolerate deep insertion or require thicker bore ear tips for a proper seal.

SOUND IMPRESSIONS​

Tested with XDuoo XD05 Pro, Fiio Q15, and stock ear tips and cable.

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Bass

• Low Impedance Mode
  The bass is boomy and textured, making it a great fit for those who love a warm, fun tuning. Sub-bass is well-positioned, immersive, with a thick body and a long rumble. However, for some (myself included), the extended rumble can feel excessive in certain tracks, leading to a slightly overwhelming experience. The mid-bass delivers a punch with average speed, making it suitable for both fast and relaxed tracks. It’s thick, above average, with deep punches that make you bob your head to the rhythm—something I genuinely enjoy.

• High Impedance Mode
  Here, the low frequencies feel more controlled. Sub-bass and mid-bass retain their texture and dynamic nature, but the rumble tail is no longer overwhelming, making it better suited for all music genres. While the mid-bass punch isn’t as deep as in low impedance mode, it’s still fun and impactful.

Mids

• Low Impedance Mode
  I prefer neutral, slightly thick vocals, and this IEM delivers just that. The vocals are full-bodied without being overdone, with a slightly forward positioning that enhances comfort. They strike a perfect balance—not too wet or too sweet. Upper mids are energetic enough to handle female vocals without introducing sibilance or dryness. Instrument timbres, such as hi-hats and snare drums, feel crisp and clean.

• High Impedance Mode
  Vocals remain neutral and thick, though slightly less so than in low impedance mode. Female vocals are super energetic, which might feel slightly sharp to some listeners. Occasionally, vocals may sound slightly dry in certain tracks, but this is rare. I personally enjoy the added energy and airiness, which still feels controlled. Instrument timbre remains natural with clear and detailed presentation.

Treble

• Low Impedance Mode:
  "Complete" is the best word to describe the treble in this mode. The treble is detailed, controlled, and never overly bright. Cymbals have an average decay and feel energetic without being offensive. It’s great for those sensitive to treble or prefer a balanced presentation.

• High Impedance Mode:
  Bright and energetic, the treble in this mode highlights micro details and adds a sparkling quality. Instrumentals shine through, making it ideal for analytical listening. However, it might be too bright for treble-sensitive listeners.

Clarity
Both modes offer clear and articulate sound. Low impedance mode may suffer slightly from sub-bass overshadowing details in some tracks, while high impedance mode excels in micro-detail retrieval.

Soundstage
Above average in both modes. Low impedance delivers a grand, immersive soundstage with adequate airiness, while high impedance mode feels more open and expansive, creating a more spacious presentation.

Imaging
No complaints here. The imaging is excellent for the price, with precise instrument placement and well-layered sound. Improving vertical soundstage could enhance the layering further.

Source Selection​

Given the dual tuning, I prefer neutral and detailed sources to fully explore this IEM's technical potential. The tonal characteristics can be easily adjusted with the tuning mechanism.

Ear Tips Selection​

I recommend starting with the stock Softears ear tips, as they are among the best in comfort and performance. For long listening sessions, I prefer Eletech Baroque or JVC Spiral Dot++. Due to the small but long nozzle, thicker bore tips (like the included ones) are ideal for a secure seal.

Cable Selection​

For better vertical soundstage and enhanced separation, I recommend budget options like the VJC Heirs Black. For maximum performance, premium options like Verus Lavender 6 or Effect Audio 24c can elevate this IEM to another level.

Conclusion​

• The teaser images immediately caught my attention with Softears’ reputation and the sleek design. Beyond its looks, the accessories and sound quality make it a strong contender in its price range.
• With two distinct tunings—neutral with bass boost (low impedance) and neutral bright (high impedance)—this IEM feels like owning two characters in one.
• While it has minor drawbacks, like overpowering sub-bass in low impedance mode or brightness in high impedance mode, its high technical performance might just make you pause your IEM shopping.
• So, is this IEM worth buying? If you have $300 and want an IEM to pause your buying spree, the Softears Volume S is the answer.

That’s all.
Trust your own ears.
If you don’t, that’s fine too—I’m not here to force my opinion.
Bye!