General Information



  • Craftsmanship at Its Finest
  • Dual-Chamber Dual-Magnetic Dynamic Driver
  • Professional Material Selection
  • Interchangeable Cable Design for Versatile Listening
  • Two Interchangeable Ear Tips
  • Enhanced Acoustic Airflow Design
  • Premium 0.78mm Silver-Plated Cable
  • Soft and Comfortable Silicone Ear Tips



Latest reviews


Headphoneus Supremus
Pros: Great build quality (though slightly heavy) at 11 grams each
Lots of included package extras including a TypeC USB DSP amplifier Dongle designed for the D-MAJOR
Great ear-tips selection coming in their own tray
A spring release pouch
Comes with two extra tuning nozzles and one (red one) packed with dampener which lowers upper range frequencies
Best for treble heads or those that want maximum clarity from their phone or computer
Clear fast-paced action
Enjoyable transient response
Accurate imaging (all the more profound with less bass)
10mm Beryllium Plated PU composite Dynamic Diaphragm
Great cost to performance ratio
TypeC USB DSP device widens stage and adds complexity to harmonics
Good old-fashion bang-for-the-buck
Cons: Less than normal amounts of bass
DSP Cable is of use and lowers upper frequencies yet slightly softens clarity
Vocals could be too bright with two of the nozzles, black and blue
Oddly weighted, placing weight on the outside of ear-fit
Slightly nasal timbre
Redcarmoose Labs June 20th, 2024



Driver configuration: 10 mm beryllium-plated PU composite diaphragm dynamic driver
Frequency response: 15 Hz - 37 kHz
Impedance: 22 Ω
Sensitivity: 108 dB
Cable: 2-pin, 0.78 mm; OFC copper silver-plated cable

When I heard that Linsoul was sending me the D-MAJOR all I got was the name in an email. So naturally I was curious as to what the heck it was. Back a month and a half ago there were no reviews or even the existence of the TWISTURA name on-line……except for one small place. Yep, a business registration in China. Right then I knew that this registration (being brand new) that they had not been producing an IEM before, or anything else for that matter. So here the D-MAJOR arrives and it is both unique and promising, but far from perfect. I will start with the USB TypeC DAC Dongle you get as an extra.


The D-MAJOR included 3.5mm DSP USB Dongle:
This it seems has been the latest craze in the IEM world. Funny these little extra attachments that you add-on to the front on an IEM cable. As such they work as amplifiers and digital decoders in addition to modifying the tone with DSP effects.


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The DSP effect:
Upon first impressions I thought the little DSP Dongle made the resulting tone even brighter, but upon further examination, really it is slightly toned down in the treble. As such we are afforded clarity still but basking in a more open and wider stage, hearing a style of added harmonic complexity which goes to make the sound slightly fuller yet takes away the edge. The best part of this Dongle is it supports 8kHz, 16kHz, 32kHz, 44.1kHz, 48kHz, 96kHz, 192kHz and 384kHz. As a matter of fact this may seem like offering 8 different levels of decoding wouldn’t be any big deal, when in fact these Dongles are found to be at times limited in the supported frequencies, which means you would be forced to settle for the next lowest frequency the Dongle did. I feel really though the most important feature is if you relate with the DSP effect. I mean sure this little Dongle gets loud enough for the D-MAJOR, but is it our personal cup of tea, and does it make the D-MAJOR the very best it can be?

No, the answer is no.

Meaning there are additional DSPs put into our DAPs and there are even alternate DSP cables from other manufactures which offer a detour from the straight signal output. Though I only have one other DSP unit that came with the INTUAURA Splendor Il, shown in the picture below.


The main point I’m trying to get across is that while these DSP effect units tone down the treble they also affect the stage to become different. Where the Splendor II DSP Dongle reduces stage and the D-MAJOR seems to expand it. Yet at a reduction of clarity in both cases. Yep, these Dongles take a little of the life out of the IEMs they are used with. So much of this is of course relating to the IEM in question. Where in use the Splendor II had maybe enough stage in its natural state to afford to give some up for a more balanced FR? There is nothing complicated here, this is not rocket science. It is more like cooking. Yep, need more salt, add some salt, taste the food, maybe add a little more.

Phone use:
I can’t help but think one of the main reasons for these Dongles to arrive in 2024 is IEM and phone use. Yep, manufacturers realized that a Dongle gave them a marketing advantage to realize at times better sound than regular phone 3.5mm, or if your phone didn’t have a 3.5mm jack, utilizing the DSP as a alternative way to get sound from a Lighting or USBTypeC output. Remember too, these Dongles hook-up seamlessly to a computer too. And sure the sound from these Dongles is (maybe) simply better than the thin digital sound emitted by the Apple Dongle or 3.5mm? Though when it comes down to it, it could always be a matter of taste, as there will always be the purists who don't want EQ or Dongles to get in th way of their sonics.

The $49.00-$50.00 price-point:
In so many ways we are starting to see a golden age with Chinese IEMs at this point. I mean, digging out my older 2016 IEMs, it is safe to say we truly are living in the future as far as better resolution per dollar spent. Just the realization of musical items is far more realistic for the money spent nowadays. That and the IEMs are more involved, I mean just look in a way how much you get in the IEM package here?


Three pairs of wide-bore silicone ear-tips
Three pairs of narrow-bore silicone ear-tips
The included cable
Tuning nozzles 2 additional pair included to the pair on the IEM
Carrying spring pouch
USB TypeC DSP Dongle to 35mm

Remember as the target user group for the D-MAJOR we (Head-Fi) are a very small percentage. Yep, most folks who get the D-MAJOR don’t own a DAP and will never buy one, yet they want good sound quality while using their computers or phone.

And while sure the D-MAJOR supplies the tonal quality for clarity on a regular basis, it’s just by its tuning not well rounded for such genres as Rock or EDM.



The Graph:
Look, I spent close to a month, maybe more than a month with the D-MAJOR, and I had many listening sessions. I can tell you that yes, the red rubber ring nozzle tames the treble peak the most, but somehow we are left with a different timbre than the other nozzles. Meaning yes there is a slightly nasal quality all the time with whatever filter nozzle you use. As such this can be noted especially with guitars and vocals, only the red nozzle had extra material inside, which can be noted if you look underneath. As such in use, yes the red nozzle had a subdued treble, but at the same time possibly more nasal tone. Yep, tone is funny that way, in that the brightness here fills out the nasal tone when using the other nozzles. Timbre is a challenge at times and still we find off-timbre with BAs too becoming metallic, but here we have a DD, which performed admirably, and has a nice large sound, only it’s not to speak.



Dealing with tone:
Tone is one of the most perplexing things in audio. Rarely is tone perfect, but it’s safe to say there is a range of quality timbre responses………to be found in each individual IEM for sale. This timbre has to do with perception, meaning if you don’t hear it as off then all the better. Typically concert pianists know timbre tone from being close to the instrument and living with the (correct) piano tone, as such when replay is off they perceive it right away, no arguments. While some music has clues to off-timbre more than others, a NOOB could very well miss off-timbre and think all is fine and dandy. :)

Perceiving timbre:
This is typically why as reviewers we use song material that we know and have heard correct timbre reproduced (there) before in the past. Yet still, with an IEM like the D-MAJOR you can start to perceive better timbre as you acclimate through long listening times. With the D-MAJOR it is never going to be perfect, yet off-timbre somehow can be somewhat overlooked a little.

What we can do as individuals to correct off-timbre perception?

1) A Dongle like the one included:
Yep, when we reduce high frequencies, combined with the red nozzle it may reduce the perception of red nozzle off-timbre.

2) Different cables:
Each idea of a cable build offers different frequency emphasis and stage positioning which can promote or lessen off-timbre.

3) DAP choice:
The fact that each DAP has a tuning, with some more midrange emphasized, compared to the subtle M response of the HiBy R3 II, which in fact seemed to correct this off-timbre in charming fashion. Also the heavy V response of the Sony WM1Z worked well. Where MrWalkman’s aftermarket software included the wanted DSP effects instead.

4) Ear-tip choice:
Tips with a narrow bore emphasize lower frequencies and may change heard timbre?

5) Music choice:
We all know there is a wide range of material with some producers playing the boosted card with certain instruments, resulting in a double edge sword in that yes, maybe the instrument is detailed/vibrant, but at the same time showing timbre more in contrast to other instruments in the mix down.

Music tests:

The test set-up:

Here I’m joining a TRRRS 4.4 Rhodium FT-7445 FURUTECH plug with a HanSound ZEN pure OCC copper cable. Some may think it is ridiculous not to use the included cable, and/or the included cable with the included DSP unit. If that is what you are after, kindly read another review for the low down there. Here we are looking for success any which way we can find it.

The Sony WM1Z:
Here I matched the WM1Z with the D-MAJOR for a few reasons. One the WM1Z increased stage, as it has a great DAP soundstage. Two it increased the bass, as it has profound authority in the lows which helped the D-MAJOR out there. Three, it just had synergy here (with the red rubber ring nozzles) to where we could actually choose any genre, and that is precisely what I wanted this review to be about. Sure I’m matching a $49 (without mic) to $50 IEM with a $3200.00 DAP and a roughly $150.00 cable, but it is what it is. Was all this necessary, maybe, maybe not?


The included ear-tips:

Here is a basic problem with the D-MAJOR structural design. While interesting and cool looking, note where the weight is. Where the chrome build part is the heavy part, and when I say heavy the D-MAJOR weighs 11 grams each! So this weight is hanging off the outside of your ears, and it feels like that. I tried about 10 different ear tips to finally find these dual material types that worked, yet still the fitment is not perfect, at least for me it is not?


The aftermarket ear-tips I used in testing;


Timestamps refer to original song, not the Youtube video.


Paganini Traxx
Zoe (The Second Chapter EP)

44.1kHz - 16bit
I’m showcasing this song first as it shows how EDM can be performed with the D-MAJOR, though keep in mind the drums and bass are just barely holding enough weight for this style of music, where I’m sure a large section of the listening public that are more centered on EDM would say it is a no go. Though as this is purely electronic music it is harder to judge timbre and if this was the very first time you heard “Zoe” the timbre could be perceived as perfect. Clean is the first word that comes to mind, missing any clutter activated by a lower midrange fussing with the mids. Right at the end of 00:29 the beat hits, and if you are familiar with this style of music you already know this will be the extent (volume) of your drum beat replay. Yep, it never gets any louder or more authoritative here. I mean it’s OK, not great, and just gets by according to most standards, even the old school “anti-bass” crowd would probably agree here. If you study the graph it really only means so much to change to a DAP from the included Dongle, or change cables, as it would take an act of GOD to add any more bass energy here. So as it goes, we probably wouldn’t find pure EDM listeners getting a pair, unless they were looking for great vocals and only wanted to concentrate on vocals in the end. I mean sure I picked a really hard song to test here, as this song doesn’t have that strong of drums (or bass) to begin with, I just wanted to be upfront with what you are possibly purchasing here.

Timestamps refer to original song, not the Youtube video.


Dead Can Dance

44.1kHz - 24 bit
Finally we have weighted drums, yep. More deep profound energy tone wise in the lower realm. Plus this album, and I don’t know why, has skipped the timbre testing. What I mean is it doesn’t matter which IEM you chose, or which DAP you find, this album, the whole album always puts out great timbre. Also we are finally finding note weight here…….better than the KZ ZS 10 PRO 2.

Where I personally would give up the note weight and live with the metallic timbre of the PRO 2 instead of this. It is just that I have always liked Hybrids better. Thinner cymbals, thinner instruments in the making, the way we perceive the PRO 2 handling affairs, yet something about those sub-bass focused drums being there is a separate Drum involved and a separated 3 way crossover feeding them, that has me smitten with the KZ? Still as far as replays this too is really good. At 00:38 there is a Chinese hammer dulcimer called a yangqin played by Lisa Gerrard.

As such these strings are way out front......enabling a clear and precise view of the timbre, and translucent understanding of the yangqin character.

This introduction of instruments and just the way they are sequenced, would make anyone take notice, I feel. It is the fact that the D-MAJOR does have enough bass to lend drama to the introduction. Then the fact that each instrument does have correct reverberations. At 01:13 Lisa Gerrard makes her vocal entrance and all at once we realize we are home here, that the D-MAJOR is our friend, and while all the trash talk I spoke about a few paragraphs back was true, it is surprising just how fast those thoughts and incapabilities can be only a memory.

You know this I would say is just about right, not to forward like vocal specially IEMs can do, but going that direction normally with the Dongle in use. Here we are more full-range instrumentals and perfect toned vocals holding note weight and reverberations as well as great timbre. While even now there is a slant into treble centric, I mean how could there not be? The hump from 3kHz to 5kHz is real and there is no stopping it, let alone the added intensity due to diminished bass action to boot. Placing the vocals in the vocal zone to be seen and heard…….I mean you can’t see them, but this style of replay is almost getting us there.


Apocalypse & Chill
Chemical Redemption

44.1kHz - 24bit
When I heard this difficult number I knew then I had to include this in the review. The facts are this one song can be difficult to replay. Why? It shows a level of production values which is common to female fronted Symphonic Metal. Maybe they have to tweak the guitars to join the vocals……IDK. Whatever it is this becomes a unique testing file here at Redcarmoose Labs. And truly this level of production values are not just in this song, as the whole album dignifies these wild qualities. Fast clean drums, forward vocals (vibrant and full-of-life), forward guitars and wicked pace, which can be a challenge for some IEMs to get a grasp on. Yep, they simply are not built for this fast pace, causing us as listeners to shrug our shoulders and pick another IEM from the stash. But here and now we are gifted with a competence of value, maybe because of the driver qualities, maybe the housing structure, maybe the tune…… doesn’t matter because we are home. Even the vocals don’t somehow seem to carry much of that off-timbre we have come to look for with the red rubber nozzles. The stage is medium, the drums are still stiff and fast, holding only enough reverberation due to an incredible pace………..the pace of the D-MAJOR is what these are about. Why? Well you clean up the bass reverberations, you enlarge the midrange/treble and pace is what is left over.



You know when they list that the IEM is dual chamber. Well that is truly ridiculous as all IEMs have a front chamber and a rear chamber, otherwise they would not work. Though what is unique about the D-MAJOR is the fact that there is a dark brown window to kind-a look into the internals. There are also three holes on the side for venting, and the black part of the construction is probably metal, yet it has a coating that makes it not so easy to tell. Of course the chrome zinc alloy material is obvious, yet the side panel is also black metal. Though if you are not careful you could try and place the 2Pins into those holes as they look almost the same and are right next to the 2Pin. Like I mentioned earlier the weight is disproportionately placed on the outside when in use. This may in fact create a need for firmer holding ear-tips just to keep them in place. Though the good part about all this metal build is it keeps the sonics in clean arrangement with no riff-raff reverberations getting in the way of pace, and that is just what we have. The ear touching part has been coated with special paint which helps with the metal feel, to become somehow more comfortable. In the pictures here I didn’t screw down the nozzles all the way, so it looks like a larger space between nozzle and IEM socket. Though be informed the two pin socket bases are on the shallow side, and combined with the 11 grams weight, makes for a slightly precarious design. Meaning the IEMs could in fact fall off an aftermarket cable, if such cable only offered minimal plug length. Though it is comical how TWISTURA went and decided to address this issue. They used the longest two pins ever!


The 3.5mm plug came cellophane wrapped as shown in picture.

The cable is fine, but limited due to the IEM total cost. Though the 2Pins which you can not exactly see in the photographs are some of the longest I have come across in my years of reviewing.







The D-MAJOR comes across a little differently. Different from most in its tuning and looks. Yet the D-MAJOR's imaging and clarity make it special too. Just the no-nonsense way it handles your files, offering them up almost like a microscope. This obviously is not the most clarity or the most IEM microscope in the world, come-on it’s $49.00 with-out microphone. Yet if you really wanted to hear vocals and hear them clearly, I’m not sure I could find an IEM in my collection that could do this at this price?

Sure the timbre can veer to the off position depending on how you feed the little D-MAJOR, accept I found ways around that. While the fitment could be a person to person thing as fit usually is, a rummaging through the tip box almost cured that too? The accessories are amazing, and if a person just wanted to listen to vocal music off a phone all day long..........I truly don’t know of a better choice for the money. It is just if you were dead-set on EDM or Rock there are more fish swimming in this sea of IEMs we have before us to purchase. Though even then the D-MAJOR is offering an alternative window which, even though bright, sounds pretty much correct. This window has been cleaned-up to be spot free and is letting the daylight in with all the included clarity to boot. If this sounds like your cup of tea I can promise you the D-MAJOR is not even remotely like anything in your collection, and if you just want to use the DSP Dongle with your phone and enjoy optimal vibrance and clarity, you can do that too.

Due to the 11 gram weight I really don’t recommend the D-MAJOR as a sports IEM, but if you were looking for something mobile that would add resolution and legibility to computer vocal playback while out at the nearest Starbucks, the D-MAJOR could definitely have your name on it! I mean that’s the thing, when using headphones for movies people first think that maybe all the bass is important, then later you discover that it is vocals and a pleasant up-front dialogue that means the very most to online entertainment…….not to mention gaming? That and the sound effects have to have a fast transient response, and that is what is found here. My very first impressions were that “WOW” these have a lot of vocals for the money, a very special amount of vocals.

STD $49.00


I would like to thank Kareena from Linsoul for the love and the TWISTURA D-MAJOR review sample.

These are one person's ideas and concepts, your results may vary.

Linsoul website:
Linsoul Aliexpress Store:
Linsoul USA Amazon Store link:
Equipment Used:
Sony W1Z Walkman DAP MrWalkman Firmware 4.4mm balanced and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm balanced and 3.5mm
Samsung Phone 3.5mm
HiBy R3 II DAP 4.4mm balanced and USB TypeC digital output
Apple MacBook Air TypeA USB to adapter to TypeC Dongle
Apple MacBook Air 3.5mm output
Last edited:

mars chan

New Head-Fier
TWISTURA D-Major review and comparisons.
Pros: .
- the first pros came to mind is the aesthetic of the IEM: high-tech and beautiful.
- build quality and material used.
- the included DAC has excellent synergy with the D-MAJOR.
- very clear sound with excellent technicalities for the price or even higher, regardless of the driver configurations employed.
- excellent choice for people who love treble with very good bass.
- easy to drive and sounds clean at loud volumes.
- did I say it looks beautiful?
- The included eartips are good
Cons: .
- You're going to have to choose the source properly, or else it could sound too bright.
- Only the red nozzle is usable for my ears and brain; the other included nozzles are simply unbearably bright for me.
- The included cable is just average, but understandably so.
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TWISTURA D-Major review and comparisons.

: The TWISTURA D-MAJOR is a vivid and dynamic-sounding IEM that includes a dongle DAC and is perfect for people who love details at a good price. Let me explain....

The TWISTURA D-MAJOR, a 50-dollar IEM, was sent to me for a review by Linsoul Audio. Linsoul Audio is an online store that sells IEM earphones, headphones, digital audio players, digital to analog converters, accessories, and much more, from budget all the way to top-of-the line high-end stuff. Thank you, Linsoul Audio, for trusting my reviews.

The TWISTURA D-MAJOR is made of metal and has a nice weight to it; it looks and feels luxurious in person (see photos); only the beautiful transparent window on the face plate is non-metal. The design is very unique; I applaud them for the design; it looks futuristic, though I can't pinpoint which movie the design was inspired by. This is the design I like to wear; I love it.

The packaging is very good for a 50-dollar set, and I'm very surprised to see two sets of extra tuning nozzles at this price point. The included two types of eartips, consisting of three pairs per type, are very good. One type looks like TRN T-tips, which I'm very familiar with and has been one of my favorites for a long time now. The other tips look similar to the Acoustune AET07 tips. There is also a storage pouch and, surprisingly, a small dongle DAC. This is amazing value for money. The included cable feels cheap but serviceable and is good for beginners. I use my own cable, but I would rather have them put their resources on the IEM's construction than put them on the cable.

For this review, I used the red nozzle as I couldn't bear the brightness of both the black and blue nozzles. The red nozzle is still on the bright side, but I'm very comfortable listening to it. I used a custom cable and the TRN T-tips-looking tips.

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For the sources, I used my reference sources, such as my Fiio M15s DAP, Hidizs S9 Pro Plus Martha dongle DAC, and Kiwi Ears Allegro dongle DAC, for this review. I also used the included TWISTURA dongle DAC, which will have separate sound descriptions in this review.

Power handling:

The D-MAJOR has no issues being driven hard, it can take a lot of power without audibly distorting or losing composure, and it is quite sensitive. It can be driven easily with the small dongle DAC that's included in the package. The D-MAJOR is excellent in these aspects and rivals my much more expensive single DD set.

Sound signature with my reference sources:

It is slightly V-shaped but biased more towards brightness than bassyness, giving a vivid presentation. It's like walking in an urban area on a bright, sunny noontime; you can see the details of the faraway buildings. It is that vivid sounding with a slightly thin-sounding instrument and vocal note weight. I'm not a treble head, but I have a feeling that treble heads will be very happy with the D-MAJOR.

Sound signature with TWISTURA Dongle DAC:

The brightness has tamed, and the instrument and vocal note weight have become slightly thicker or heavier, making the sound signature more neutral. It's not as vivid compared to my reference sources, but it's still clear-sounding.

Technicalities with my reference sources:

A technical beast, excellent for the price. It sounds like it is using DD drivers intended for a set that cost atleast 150 dollars; it has very low distortion, and no frequency would jump out at you; it behaves very linearly. The soundstage size is above average for the price, the shape is spherical, and the imaging is above average for the price, on par with some more expensive sets, not the most precise and defined, but good enough.

Technicalities with TWISTURA Dongle DAC.

The technicalities are slightly reduced compared to my reference sources, but still above average in performance.

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Bass with my reference sources:

Slightly boosted and very detailed, the bass resolution, detail, and texture are above average regardless of price, and its bass sounds better than some much more expensive sets. I would give this an "A" in bass.

Bass with TWISTURA Dongle DAC:

Retains the boost but with slightly less tightness, details, resolution, texture, and dynamic.

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Midrange with my reference sources:

Clean, clear, and detailed with very slight recession, not totally flat to my ears.

Midrange with TWISTURA dongle DAC:

Same clarity and details as with my reference sources, but with reduced dynamics..

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Treble with my reference sources:

Boosted, clean, and vibrant, it has no non-linear distortion, so it doesn't sound sibilant. This is the reason why I said the drivers used in the TWISTURA D-MAJOR sound like they belong to much more expensive sets. The sound is bright but never fatiguing. It may be a touch too bright for 20 percent of the songs I listen to in my library, but I'm pretty sure treble-heads would love this. The upper treble sounds airy and doesn't need additional balance armature driveres to help with technicalities, because this IEM sounds as if it has balance armature treble drivers without the unnatural timbre and coherence issues. This is very good.

Treble with TWISTURA dongle DAC:

The treble sounds tamer, making the sound more neutral and versatile. It is now able to play much more music without too much brightness.

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If you like a clear but neutral sound, the included TWISTURA dongle DAC is the one you should use. I tried the Moondrop Dawn Pro, which has a little laid-back sound presentation and a big soundstage. It sounds similar to the TWISTURA dongle DAC but with higher performance. My reference sources are very neutral with flat frequency response, and the D-MAJOR sounds brighter with them, so if you are a treble head, you will be delighted with the TWISTURA D-MAJOR when used with sources similar to my reference sources, but if you like a more neutral sound signature, you're going to have to use the included TWISTURA dongle DAC and other warmer sounding sources.

Compared to KZ ZS10 Pro 2 (55 USD):

The ZS10 Pro 2 is a hybrid IEM with a driver complement consisting of 1 DD, or dynamic driver, for bass and 4 BA, or balance armature, for midrange and treble. They are equally good-sounding to my ears, and the KZ ZS10 Pro 2 is my reference IEM in the 50-dollar price range. The KZ ZS10 Pro 2 sounds tonally warmer and more V-shaped than the D-MAJOR, which sounds flatter and brighter.

Surprisingly, the single DD TWISTURA D-MAJOR is better in technicalities than the KZ ZS10 Pro 2. The D-MAJOR has a bigger soundstage and better imaging definition and holography; though, it's not as good as my more expensive reference IEMs, it comes close and is definitely head and shoulders above the average in its price range. I'm very delighted with this, especially since it's coming from a single dynamic driver.

If you ask me which one I would buy, I'd say they sound different enough that owning both won't be a waste; they complement each other as my mood changes and so do my listening preferences. I can't decide for you; all I want to say is that both of these sets are worth owning, and you can never go wrong with either of them.

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- the first pros came to mind is the aesthetic of the IEM: high-tech and beautiful.
- build quality and material used.
- the included DAC has excellent synergy with the D-MAJOR.
- very clear sound with excellent technicalities for the price or even higher, regardless of the driver configurations employed.
- excellent choice for people who love treble with very good bass.
- easy to drive and sounds clean at loud volumes.
- did I say it looks beautiful?
- The included eartips are good


- You're going to have to choose the source properly, or else it could sound too bright.
- Only the red nozzle is usable for my ears and brain; the other included nozzles are simply unbearably bright for me.
- The included cable is just average, but understandably so.

To wrap things up...

I'm not a treble head or a person who likes a lot of treble in the sound, but because of the TWISTURA D-MAJOR, I think I'm becoming one. As long as I use the red nozzle and carefully select my sources, the overall tonality is near neutral but with extra treble goodness. The quality of the driver used in this IEM sounds like it belongs to a more expensive IEM in terms of performance, which is why I can forgive them for including an ordinary cable, as cables are easily replaced.

The TWISTURA D-MAJOR sounds so good that it earned a badge as one of my personal reference IEMs in this price range, and thus earns my high recommendation.

Happy Listening! Cheers!

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Great photos!


Headphoneus Supremus
Pros: Good price-to-performance ratio for sub-$50 USD
Generously accessorized
Comfortable despite weirdly shaped shells
Solid build
Moderately easy to drive
3 tuning nozzles to vary sonics. Also has a DSP cable to modify the soundscape (with thicker note weight and less pushed upper frequencies)
Natural timbre on red nozzles
Great technicalities for a budget single DD
Tuning will suit trebleheads and analytical junkies
Clean lower midrange
Bass is speedy without bleed
Cons: Shells may be fingerprint or scratch magnets
Shouty vocals on some tuning nozzles - not for pinna gain or treble-sensitive users
Note weight on thinner side
DSP cable tames upper frequencies but loses some resolution
Not for bassheads

I would like to thank Linsoul for providing this review unit.

The Twistura D-Major can be gotten here: (no affiliate links).

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  • Driver configuration: 10 mm beryllium-plated PU composite diaphragm dynamic driver
  • Frequency response: 15 Hz - 37 kHz
  • Impedance: 22 Ω
  • Sensitivity: 108 dB
  • Cable: 2-pin, 0.78 mm; OFC copper silver-plated cable; 3.5 mm termination. Also can be used with included USB-C DSP cable
  • Tested at: $49 USD (non-mic version); $50 USD (mic version)


Other than the IEM, these are included:

- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Analogue cable
- DSP USB-C cable
- Tuning nozzles (3 pairs)
- Carrying pouch

For a $50 USD set, the accessories are quite stellar. I've definitely seen pricier IEMs with a more inferior accessory line-up.

D major 10.jpg

While we do not have any foam tips, there are 2 variants of silicone tips. The narrow-bore ones boost bass with some soundstage compression, whereas the wide-bore ones increase air and treble, and open up the staging.

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The stock cable is a Litz-braided OFC copper silver-plated cable. It only comes in a 3.5 mm termination, and is rather thin and tangly. Surprisingly, microphonics are negligible, with a chin cinch to secure the IEM during usage. When placing an order, one can opt for a mic version of this cable for a dollar more.

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We have 3 pairs of tuning nozzles, and a DSP USB-C cable. These items influence and change the sonics, and we will read more about them below.

Lastly, we have a leatherette carrying pouch. While it isn't rigid to withstand compressive forces, this pouch can at least prevent scratches on the mirror-like body of the IEM.

The rest of this review was done with the stock DSP/analogue cable and stock narrow-bore silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


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The D-Major is fashioned from electroplated zinc-alloy. Indeed, the build is very solid, and easily belies its sub-$50 USD price tag. The faceplate and inner part of the shell contains black resin. While the mirror-like finish is elegant, it may be a potential scratch or fingerprint magnet though, so do baby these puppies.

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Comfort is good, despite the weird-looking design. There are no poky parts that stab the ear, and the D-Major can be worn for longer sessions without discomfort.

Being a heavily vented IEM, isolation is below average. However, this helps with airflow, and I didn't detect any driver flex on my pair.


I tested the D-Major with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive with both the DSP USB-C cable and stock analogue cable, and heavy amplification requirements are not needed.


The D-Major's engine is a 10 mm beryllium-plated PU composite diaphragm dynamic driver. It is advertised to hit 1 Tesla in flux, and this dynamic driver is housed within a dual-chamber with 2 magnets.

The past few months have promoted the tuning nozzle craze, and the D-Major unsurprisingly packs 3 pairs of tuning nozzles, which translate to the following tonalities:
Twistura D-Major.jpg

Graph of the Twistura D-Major via IEC711 coupler. 8 kHz is a coupler artefact peak.

All 3 tuning nozzles confer neutral bright tunings which lie on the leaner side.

The blue nozzles furnish the thinnest and brightest sonics, but most users might find them shouty in the upper mids, due to an overzealous 15 dB ear gain! This causes vocals to sound artificially nasal but we have the best clarity and resolution on this setup. The blue nozzles push a lot of micro-details and technical junkies and trebleheads will enjoy this configuration for sure.

At the other extreme, the red nozzles are the most sedate in the upper midrange. But having said that, they still hit around 11 dB ear gain, and fall at the edge of shouty territory (this is more apparent at louder volumes as per the Fletcher Munson curve). Nevertheless, the red nozzles are more palatable to our treble-sensitive and anti-pinna gain gang, and the note weight is a bit thicker and bassier too, though we lose some technical prowess with these red nozzles.

The black nozzles are a midpoint between the above 2 nozzles in sonics and technicalities, but will likely still be shouty for the pinna gain detractors, with 13 dB ear rise noted on these nozzles.

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Thankfully, for those who are afraid of excessive upper mids, the included DSP USB-C cable tames the upper mids and lower treble. It also thickens note weight across all tuning nozzles. Hence, with the DSP in play, the D-Major isn't as aggressive, and is more laid-back and relaxed, with rounded vocals and less sharp edges to notes. The DSP cable is a suitable option for folks that want something lusher, but we do lose some micro-detailing and resolution compared to the analogue cable.

However, DSP cables are a love-it or hate-it thing. Some purists might feel hamstrung to have to use a DSP dongle to get their ideal tuning, and these DSP dongles do limit source matching, cable-rolling and also cap bitrate playback.


The following impressions are done with the red nozzle in use. This confers a neutral bright tuning, with note weight on the leaner side. However, it is still the thickest in note weight (and least shouty) of the 3 nozzles on offer.

With these red nozzles, the D-Major has bass just slightly north of neutral, with a sub-bass focus. Sub-bass extension and depth isn't the deepest however, and we only have a tickle of rumble. This IEM will hence not be for bassheads. Bass quality is happily quite solid, with above average texturing and nimble speed, with minimal mid-bass bleed.

The midrange is relatively neutral and transparent, with no big bad bass to encroach here. As alluded to above, the red nozzles push the least ear gain at the upper mids - at about 11 dB - but even so, vocals are still forwards and at the edge, especially at louder volumes (Fletcher Munson curve). At low to moderate playback, this region is mostly tolerable.

The D-Major has moderate treble extension with the red nozzles (more so with the black and blue nozzles). Sibilance may be present on occasions, but there is good clarity and resolution on tap.

Timbre is quite natural with the red nozzles, in keeping with its single DD roots. Timbre may be nasal and metallic with the blue nozzles though.

On the red nozzle configuration, the D-Major has good technical chops, espousing relatively accurate imaging and superior micro-detailing, with above average soundstage. On the black and blue nozzles, technicalities improve, as described above, but we run into harshness in the upper midrange, so those nozzles are double-edged swords.


The Twistura D-Major will be compared against other budget single DD types. All-BAs, hybrids, and planars are omitted, as they have their own pros and cons due to the different transducer types.

The following impressions are done with the red nozzles installed.

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The Delci is a U-shaped set with thicker note weight and greater sub-bass frequencies. It also has a way tamer upper midrange than the D-Major, so we do not run into shoutiness with the Delci.

The Delci has a wider soundstage, but loses in imaging and micro-detailing. The Delci has no tunability.

Simgot EA500LM

The EA500LM likewise has 3 tuning nozzles to confer slight variations in tuning, amongst a selection of bright Harmanish tones. There is no DSP cable however, so versatility goes to the D-Major.

The EA500LM has an upper mids hump as per the Simgot house sound, but this is still less pronounced than the D-Major's, with more sub-bass available with the EA500LM.

The EA500LM has a more metallic timbre, but has a bigger soundstage. Imaging is better on the D-Major, with micro-detailing about on par.


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The Twistura D-Major is a sub-$50 single DD with good price-to-performance ratio. Its calling card is its versatility, with 3 tuning nozzles that provide a spectrum of lean neutral bright tunings. With the excellent technicalities showcased, this IEM would be a match made in heaven for trebleheads or technical junkies that yearn for something analytical.

Admittedly, some of the tuning nozzles may be overly zealous in the upper midrange - this translates to shouty vocals - and note weight is on the willowy side. Our pinna-gain or treble-sensitive friends will probably need to consider alternatives. Thankfully, the red nozzles tame the ear gain the most, and this area just lies at the fence with these nozzles installed.

Alternatively, there is a DSP cable that thickens note weight and attenuates the upper midrange, though purists might scoff at being stuck with a particular DSP cable, due to them limiting aftermarket cable pairing, source choice or even capping bitrate playback.

Bassheads will also need to look elsewhere, as this IEM isn't the most robust in sub-bass extension and heft, but the D-Major cedes bass quantity for quality. With the red nozzles in play, timbral accuracy is legitimate, and this set is also easily driven, with solid build, comfortable ergonomics and a generous array of accessories provided.

In a nutshell, the D-Major is a budget transducer for trebleheads that prefer a more svelte tone, with a good sprinkling of technicalities and versatility. For the sub-$50 USD asking price, it isn't a bad set (except for bassheads and the treble-sensitive), and is quite competitive in the current shark infested budget CHIFI landscape.
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