SOFTEARS VOLUME S

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​

Softears VolumeS
INSTAGRAM: LINK
YouTube: LINK

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.

Click to expand...

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.

Click to expand...

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!