ZiiGaat X HBB Arcadia Hybrid 1DD-2BA Universal IEM
Redcarmoose Labs December 9th, 2024
Preface:
Really lower score reviews (for me) are much more difficult for me (to write) than 5 star reviews. In actuality 5 star reviews are simple, you explain why you like the IEM and it is a party. But with lower scores it takes a new level of investigation. Yep, you have to try more combinations of gear, tips…….actually more review days are needed to understand yourself and the review process. "Am I missing something"........you say to yourself!
In the end you’re just trying to be fair. Why? Because people are depending on your opinion to make or not make a purchase, or at least use your opinion and mix it with other takes on a product.
You just want to be honest and explain how you feel at any cost at any cost in the review process. What can make this double difficult is if you had better first impressions, then those impressions lost a point due to spending more time with the IEM. And with HBB collaborations there have been a few ways (for me personally) that they go down. Often I will slowly warm-up to a new IEM introduction. If anything as reviewers we are trying to keep an open mind, that there will always be those that have a slightly different sound signature liking than us. While I pride myself in having a few sound signature likes..........the more I review HBB products, the more I realize that this Arcadia IEM is really not totally my tonal preference.
Not my desired tone:
There is nothing wrong with that, what is wrong is to not understand that each person has a range of what they find enjoyable in an IEM sonic response. And sure, some will like the Arcadia more than I, and maybe some will even like it less. Probably if I was to list the things I like, I like the super large stage, and I like the clear bass authority. What I don’t like is the Pinna Gain (vocal stance) is slightly too smooth and the treble is slightly too smooth. And believe me I have tried a number of ways to rectify these issues, and I did a little, by changing cables and sources, yet still the Arcadia is what it is in the end, though EQ is an option here.
Reviews and personal subjective opinions:
1) As when all the IEMs are good, it is a party. But, what happens when you don’t like a popular IEM or an up and coming IEM?
2) The fact that basic subjectivity suggests that we can’t possibly like all the sound signatures. A slight decrease in Pinna Gain is a win by some listeners, then becomes heard as sleepy by others. An extra few dB of bass will not blend with what others are trying to do, with the goal of trying to keep the pace firm and clear. But then others are willing to take the hit in technicalities (pace) (clarity) to get more bass.
3) In the end each of us finally is judge and jury only to ourselves.
Of course there are IEMs which are liked more by the whole group, and basics of even, complete and correct replay, that once you start to deviate from those laws, too much......you are asking for trouble. The great part is there are choices of different signatures and we are in a style of Golden Age, where it is not slowing down any time soon!
Comparisons:
ZiiGaat X HBB Arcadia Hybrid v 7Hz Timeless II Planar:
Actually I did this comparison section at the very end of the review timeline. Doing it last seemed to send home all my ideas and concepts regarding the Arcadia IEM. And since these ideas are of utmost value, I figure I will put this comparison at the front. Both are almost the same price as the Arcadia is $199.00 and the Timeless II is $229.00. Now normally I like Hybrids more than Planar IEMs. It is just as everyone knows, tune is more important than methodology of build at times.
There can also be a personal affinity to a combination of tone and technicalities, which results in maybe liking the Timeless II bass better because of the amount, but also its pace character………….do you see where I’m going with this?
ZiiGaat X HBB Arcadia Hybrid v 7Hz Timeless II Planar:
The setup for these tests is the Sony WM1A with MrWalkman’s firmware, the included cable on the Timeless II, and the 4.4mm SIMGOT AUDIO LC7 on the Arcadia, both using the new NiceHCK C04 ear-tips. Giving a word of defense for the Arcadia, it is also very possible to gain a preferred response with the use of EQ. Now typically I’m not a big proponent of using EQ as I feel one section of response artificially altered leads the way to perception of other aspects of the signature...........left changed. But here as an example the EQ in the treble and vocal region has an Arcadia profound ability to add sparkle just by tweaking the EQ up. It is the inherent ability of the 2 Knowles BAs to all-of-a-sudden change to the brighter input signal. Also of small consequence actually the Arcadia was slightly better fitting, yet both were totally comfortable. The Timeless II comes in at 6 grams a piece and the Arcadia 4 grams each. With that said, the lows are probably the first most noticeable difference between the two? But of course there is more to it than that.
ZiiGaat X HBB Arcadia Hybrid v 7Hz Timeless II Planar:
The lows are faster with the Timeless II that and vocals come forward to exclaim their presence of space stolen over the Arcadia. These vocals with the Timeless II seem to take on a more spacious and detailed idea, literally filling the stage with extra harmonic overtones, yet slightly thinner. Yes, the whole Timeless II sound is thinner. More spread-out into the side-by-side actualization of vocal overflow. Little treble elements are too created by the Timeless II traveling farther out into the stage, fully apart from the center held focus to surprise. Now as much as I like the Timeless better, it is also not perfect.
The Arcadia is louder at the same volume, and preposterously included bass, that after a while you realize that this may still be a style of low-end that many like, including yourself!
Today the Arcadia sounds better than it ever has in my four days of writing this review. That if we as reviewers were to come clean about doing reviews, each day can be slightly different as to how we interpret sound.
As readers we don’t want to waste our time reading subjective reviews, as we want cement objective answers, and we want those answers to be clean-cut and simple.
Truly in many ways these two IEMs are opposite, in that the Timeless II is faster and more mid-centered and the Arcadia is more L shaped and thicker, yet there is a place for both to win-out here. And truly if I was to be honest, having both would cover a lot of bases. Probably from memory the impression I'm left with is that neither is perfect, but the Arcadia holds those deep lows that could be sought after in the IEM community, and such thickness travels even into the midrange and vocals, showcasing a more dense Arcadia stance.
First impressions:
ZiiGaat X HBB Arcadia Hybrid 1DD-2BA Universal IEM
$199.00
https://www.linsoul.com/products/ziigaat-hbb-arcadia
New 10mm in-house Topology DD utilizing Nano-particle Dispersion. What this does is create 3D risers on the DD surface to disperse sound in more directions. And it seems to work. Reason being 8dB sub-bass tuning up to 200Hz. But the reason this works for me, and better than most HBB ideas in tuning is that somehow, somehow we are getting detail through-out the bass texture?
I mean sure this is bass head levels of bass, but it is not really in any way murky. Plus the added tonal energy boosted from the 2X Knowles BA ED 29689 for mids, and Knowles RAD 33518 BA for treble………take the overall tone into clarity and great pace.
Looking at my reviews, most HBB have a boost way up into affecting the lower midrange, but here we are gifted with (more) sub-bass instead. And to me that is the ultimate problem solver if you are really going to provide this much excursion into bass territory. Cheers HBB you have made an accomplishment with the tuning here, surprised it took you this long to figure it out. Actually I haven’t heard 100% of HBB’s stuff, but totally my share, and this here I can really get into!
Some reviews say the stage is medium, I say medium large, but what works here besides the tuning is the great technicalities. There is truly ample separation between instrumentation. And Vocals……..there are actually more vocals to this set. Where you can tell vocals were a major concern to the tuners here, as they didn’t leave the vocal presence out completely, or even make it take a back-seat to the bass? Well maybe a little? There is something to this energy that the ED 29689 puts out, as it cuts into the stage and offers balance and vocal definition here. Plus there are darn good decays for a BA. To where of course the DD is total decay, and sure there is some lumbering only there is such a nice stage a-top that the BAs get credit here. If someone was blindfolded at a Head-Fi meet and someone just happened to jump them and place the none murky Arcadia into their ears they would smile and first say, this is a lot of bass………………but then when the vocals hit and the treble was activated into the song playback that Knowles RAD 33518 BA is getting both good timbre and laughing projectiles of images into the treble stage. Though keep in mind those treble activities are truly joined to the midrange in that there are no sparkles or brightness that folks sensitive to treble would ever need to worry about.
The detail clues I use showed me that all the detail is here, despite what ground waters are running underneath. Sure the sheets of effects inside of the treble are not totally spacial or even projected that far out into the stage, this is a midrange stage is what it is. Except I give points for sub-bass over lower midrange, midrange over treble and a stage to visualize this whole kit-and caboodle. Did I mention timbre 2X I need to as the detuned Knowles act like champs to go forward into 100% good timbre understanding!
Cheers!
Oh, and they fit like a dream! And look cool doing it! The package is totally box opening uneventful, but that is because they put the money into the drivers here.
1 Knowles BA ED 29689 for mids, and a Knowles RAD 33518 BA for treble X 1 10mm DD
Driving the ZiiGaat X HBB Arcadia Hybrid from a standard phone.
A lot of confusion is created in the audiophile community in regards to standard phone use. Typically the best outcome would be to have an IEM made which would play great from a phone and an audiophile DAP. But let’s look into this a little farther. First off it can be guessed that many beginner audiophiles, or basic music aficionados would often use a standard phone. When in reality IEMs like the Arcadia have been designed to have a certain character with just a phone.
A warmer phone output:
The concept is that years ago good IEMs had a thin and anemic sound from a standard phone. Makers learned that adding lower midrange and bass emphasis did wonders to equalize the tone and make it more inviting. Now the reality is a DAP is more detailed than a regular phone. And sure with phone use you can hear how the Arcadia is rewarding, offering a good stage, and somewhat technical, but missing a little of that dramatic contrast that higher level DAPs do easily.
Just that you can imagine folks with phone in hand trying a series of IEMs in a shop and gravitating to the Arcadia due to the extra sub-bass and added thickness that makes phone listening fun. Hence the tune. Yep, when they made the Arcadia one of the strong points was just how this added thickness fortifies phone use.
Testing:
And sure after a week of burn-in I started with a phone and the included cable and ear-tips. Understanding the limits of the source we are given a slightly murky rendition, yet basically a good indicator of possibly where we could go in audiophile DAP use. While the phone added balance, you could still note how this particular IEM catered to the bass-head crowd. And while vocals were still well represented in phone use, I couldn’t help but wonder where we could go with a cable change, a DAP put into use and even different ear-tips.
So if you are on Head-Fi that’s a pretty good indicator that you have an interest in quality sound. That while the general public can access an Arcadia IEM purchase and be fine with the included cable and ear-tips……powered from their cell phone. And since this is a review, it is my pleasure to get to the section where I use alternate equipment (much like what you would do) to try and take the Arcadia to the next level.
In comes……………..
Sony WM1A, SIMGOT AUDIO LC7 Modular cable in 4.4mm and (the new) NiceHCK C04 ear-tips.
Now I would be remiss and actually totally against the Head-Fi theme if I didn’t fully disclose how these additives were a big change from standard phone use. Number one, the 4.4mm uses a different amplifier in the Sony 1A which offers a bigger stage and more 3D style of imaging. The LC7 cable offers a warmer lower midrange than the use of a pure silver cable, plus the tone is very much slightly subduing the upper midrange and the treble, yet doing all this without really making the Arcadia sound different or colored.
The results:
Here we are given an idea of what the ZiiGaat X HBB Arcadia Hybrid is capable of. The differences stem from a bigger stage, a clearer bass, a more itemized set of images that allow for simply better emotional involvement. And as touched-on in the first impression section, this is very much sub-bass. As such it is refreshing as a slight departure from the HBB collaborations that were of a heavier lower midrange. The last sentence was one of the most important in the review. And depending who you are, you personally may have already tasted a flavor of how Hawaii Badboy cooks. You see not all collaborations sound the same, and it is fair to say we are offered more sub-bass and less lower midrange as a vehicle to make this style of playback less murky? What I mean by that is this is my 6th HBB collaboration review, and while each and every IEM in the series does promote extra bass, as that is his gig. The obvious other ideas put forth is a more or less emphasized midrange, and different ideas of just how thick to lay on the lower midrange blanket.
This is the first HBB release that for whatever reason I didn’t need burn-in to fully understand or gain any extra critical sonic changes. Now sure there was an extra effortlessness that took place after a week of burn-in and some cohesiveness added, but really much of what I understood the Arcadia to be in the first few moments of listening remained consistent. And I will take this opportunity to exclaim that this is my favorite HBB tune to date. He collaborates so much and has so many IEM ideas, that sure we can probably expect his tuning to evolve with time. Nothing remains still, as such collaborators are always offering new spices to their tunings compounded by the different innate character of each style of driver methodologies used. And while sure the included box opening experience here is bare bones, I like to imagine ZiiGaat spent the money on the 2 Knowles BAs, and the DD? Of course the IEMs themselves are quite the lookers, being one of the best looking examples of construction and faceplate designs I have seen this year!
Though all of the previously mentioned ideas are truly secondary to fit and tonality, the technicalities that you will enjoy every day with the Arcadia in your ears. But before we get to the music replay section I want to talk about the concept of bass balance.
Bass balance strategies:
There are many different ways to change the heard bass balance. What I mean by this is sure extra bass added at times increases perception of bass. Yet it is way more complex than that. Meaning if we take the midrange and treble energies down a tad, more bass will be notes without adding extra bass. Same as there are examples of adding just the extra upper midrange Pinna Gain to add a contrast to the bass driver ideas. As such a tune will then start to offer a new window into how the total overall signature is ultimately heard. Even an add into just the treble will add enough energy so that there can be found a balance to where the whole signature is perceived having less bass. And while probably most of the basshead ideas as to added bass are a choice by the IEM listener, the amount of lost or found technicalities can be all over the road with different IEMs.
This really is the same as the regular choices of different bass drivers, in that there is a wide range of added technicalities or lost technical ability.
So you get different ideas as to the character of bass replay despite the bass emphasis. It goes almost without saying that the more bass added, the more we are at risk of bleeding into midrange pace ability.......and of course the pure amount of bass starts to occlude the bass characters focus and clarity of itself.
Meaning many of you have already discovered that BA bass while not as physical or as dramatic can offer new found details……..clarity and sculpturing. But what if we had a new style of bass driver which offered both extra bass instrument clarity and gave a large amount of bass? I seem to be able to hear this new 10mm In-house Topology, Nano-particle Dispersion in action. What this idea does is use a layer of 3D objects/particles fastened onto the 10mm diaphragm to increase the surface area of sound wave creation. Yet what I hear is extra bass definition created to where below (inside of the signal) there are extra details and pace to be found? Extra sculpturing inside of the total bass response, while at the same time a little less lower midrange and midbass than is standard flair for a HBB creation. So it is for the most part simply extra sub-bass which just by its nature interferes with the midrange less, and that’s what we have! Yet add the technical ability of this new 10mm driver and it is the combination that I guess is what I hear different. The sonics that come out the other end are basically clearer, and while you still have a basshead level of bass, it is the best kind of bass, to which we have an added window into the lower response! Clarity is the best word I can come-up with? Any desired change of tone can always be accessed though EQ, as that is one tool we can totally use here.
Music:
All music tests were done with the SIMGOT LC7 cable in 4.4mm, the Sony WM1A with MrWalkman’s firmware, and NiceHCK C04 ear-tips. As a way to explore more balanced or different source and cable choice I also rolled-in the ifi GO blu Bluetooth receiver and the
Hans Zimmer
Wonder Woman 1984 (sketches)
No Hero Is Born from Lies
44.1kHz - 24bit
This song was made for the Arcadia. And while the NiceHCK NX8 I just reviewed was complete with this song, the NX8 didn’t offer this physical sub-bass which is found lurking in the lowest part of this file.
Timestamps only pertain to digital file, not video.
The dramatic sub-bass is real here. I mean if you by chance take a breather from such IEM bass antics, the response can be found as visceral and moving. That this song in particular holds ample sub-bass as a way to mesmerize audiences in the theater. Even at the opening at 00:02 the combination of bell sound and low-end are a notice of the song's arrival. The violins are separated, but only by soundstage placement and not so much tone. As it is this way in the town of Arcadia. Where the treble has a nice toned-down demeanor as does the midrange too. And because of this we are witnessing less contrasts and less itemization of elements into the stage than regular non-bass emphasis playback.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
This is a really important song especially to understand electronic drums. That while this may not be my exact sound signature to choose, I can appreciate everything that takes place with this song, and the more I listen, the more I question how this could actually fully be my way to go with what the Arcadia is doing. Bass is kinda like that, that the more you listen, the more you get acclimated and adjust to the low-end frequencies. As such this song becomes surprising in just simply how big it sounds off the Arcadia. Huge really.
Here the electronic drums offer a thick harmonically complete texture of attack and playout. Starting at just 00:09 the drum beats throughout playback, and while recessing only to make a comeback this single sound is not always playback correctly, only here it is fine! With some IEMs I actually avoid this song due to the drum sound.
Yet here it is more than correct…………it is comfortable and appreciated in existence. Where the wrong way it can be interpreted by some other IEMs is a heard slapping sound, but here the entire body of the sound can be noted, holding the note-weight, but more important balance in tone.
The beautiful thing is also held inside how the piano keys are replayed, as if really there is no other way. The keys………they don’t sound too dark, or stark sounding, as they are slightly down-toned, only in the best of ways. Holding there fully tonality and luster, despite what you may guess reading this. At 00:43 there is a break that I know about, and while with other IEMs this change in the music is more profound, in that there becomes a contrast that is displayed, added to with warmer establishments of tones. But here we are already basking in these darker and fuller waters found, with such new tones somehow blending-in. While the portion of the song is recognizable, and yes, there are adds to the midrange found enjoyable, this single break points out how it may be possible to have too much of a good thing. That while the mids are full and even the mid-bass and lower-minds take this thick action into reality, we are left with lesser contrasts or at least room for those contrasts to be appreciated. What we have is simply a toned-down thick example of everything included here, that while yes, the mids and treble make it out of the mix, there is no denying the density they emerge from.
Timestamps only pertain to digital file, not video.
Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1kHz - 24bit
Really we are at home here. Introduced to a separate world to live in. In that I have witnessed this song played back in a number of ways, and it has you question almost which one is correct. Maybe they are all correct? Funny too as electronic music holds its tonal dimensions to be brought about in different and new ways with each new IEM playback. Meaning I have heard an all BA rendition of this song played back with a window into the ultra-treble that is contained here. Yep, there are other IEMs which broadcast a high-up, thin but detailed structure of tiny bells and small hits that are showcased into their own area inside the upper stage.
With the Arcadia here we are still fully able to hear these details, but they are not energized with life to come about into their own separated life forms into the stage space. This is the warmer bathwater we are bathing in. That ZiiGaat has made choices here, that due to the economy of build, and offering warmer, more cohesive ideas at work, that we receive a more blended yet complete idea of trebles and midrange, fortified by a huge spatial bass tone.
At 01:18 you can hear a clock ticking. Now this clock sound I have heard more separated and in more relief among the instruments, yet there is also this way to go about showcasing such tone. And really the best part here is the bass tones take on an extra level of physicality, that is next level, meaning they feel real life…….and the bass textures are detailed and interesting…….approaching their very own area inside of the soundstage. At 01:32 there is a transition in the song, that is a forward section where there are new additives, yet just like the previous song “Brotherhood” those attributes are held inside less contrasts than how they are normally heard. This is simply the low-end taking over. Switching back to the stock cable and trying 3.5mm output we discover that this blending of song elements is just the ways of the world for the Arcadia.
Hans Zimmer
Inception OST
Old Souls
44.1 kHz - 16 bit
Here is a favorite in that in many ways and for many people just the way the lows play out here can be a thrill. But slightly before the bass drops we hear a beautiful single piano playing. The trick here is that the actual starting note has been reverse echoed leading up to the original note event. As such it goes perfectly with the film’s metaphysical based theme.
As when the actual note is played we hear both good note-weight and clear reverberations of the piano. The question for many will be how is this timbre? And I would say pretty darn good.. I mean that is what you are paying for, because you're not really getting a cable you would want to use (in the box) or a nice ear-tip selection…………or really anything except the IEMs themselves. So it is lucky ZiiGaat has gone so far as to zero in on the timbre by using name brand BA drivers. And while Hybrids offer one of the most open ways to replay this song, BAs in general don’t have the decays found in pretty much and full-range DD IEM. What this means is a piano like this one has added studio reverberation effects which adds to decay the note play out, and masks the actual faster note decays. At 00:54 the bass drop hits and does it ever! And that’s the thing, that even though this sub-bass drop is emotional and fulfilling there are still added midrange and treble elements which somehow don’t ever get drowned-out here. It is this provided balance or sorts that is the Arcadia’s true value in the end, this included is the most important statement in the entire review! That we are left with the full gambit of information, because as most know, it is normally not ever all about just the bass happening.
This complete idea is made even more profound in how the Blade Runner style synth takes front and center soon after about 01:00 along with the piano. When in truth the piano and synth were there before the bass drop, but as usual everything is coming together here. Though the lovely thing here is the realization that every aspect of this song has been represented here, kind of in its own sonic zone. Yep, everything at once, to where later it is noticed how the bass throbs are generated out to the outskirts of the stage. Placed into their very own realm to live and prosper. At around the 03:50 mark the strings finally make themselves known, except just like the piano at the start, due to sonic foreshadowing we feel the strings have always been with us. And…….in so many ways this place is when the song gets good. It was like the first half of the song was all that was needed to get us here, only now we realize it was a setup for the true message about to unfold!
The Arcadia makes the strings…….the violins and cellos warm and textured.
Strings:
Natural and thick, holding note-weight and harmonic complexity. From 03:57 till 04:26 we are given full understanding of just how this bass additive plays out. Revealing maybe the true nature of the tone, as bass notes somehow appear clearer, but not louder, maybe louder? And they were the same notes all along, yet the song is now in full support of these tones…….becoming slightly more real life? While no, the bass is not ever the clearest I’ve ever heard this song played, yet there is both a texture and a physicality present that is unstoppable.
It comes to a point that while the Arcadia is not my exact sound preference in the end, as it holds slightly more bass than I ask for, yet I can climb aboard how this whole song plays out, as it is a fun event none-the-less. It is so much fun here that you don’t want it to end. And truly it makes this song sound like the Arcadia and Old Souls are a match made in heaven, as they are perfect together.
At 05:47 there are kettle drums (Timpani) introduced and for the first time we are hearing these bass waves touch at the edges. It is really the whole addition of the reverberation and the coming cellos which are a sequenced additive to take this song to its destination point. But the redeeming factor is how we hear the fast paced small actions of violins and cellos gaining placement atop all the bass.
That at 06:23 the strings are in full-force and clearly heard as an addition, with their woody brawny texture, sitting atop our bass………..gaining midrange clarity into sonic focus here. And once again we are reminded that somehow we hear the whole song, that nothing is drowned-out, or at least the important parts are above the water to be fully grasped. Yet at 06:44 we are still able to hear a rhythm here, and the tempo is faster!
Timestamps only pertain to digital file, not video.
Build:
Coming in at 4 grams each, the Arcadia is the perfect weight. Added to that the custom-universal form-factor derived from the ear-data base of ear shape measurements. The super large single side-vent does lower the noise occlusion by a tad. But the two pins are flush and of perfect ease of use. The nozzles seem to also contain the exact correct length to accommodate numerous ear-tips. Each earphone is equipped with its own individual serial number. The fit and finish here are really beautiful, as is the handmade two-tone faceplates. One of the better fitting IEMs I have come across this year, that’s for sure.
Cable:
As such the cable is OK, though to be honest it seems like more of a cable could have been provided concerning the end Arcadia's $199.00 asking price?
Maybe without the HBB collaboration $ send-off we could have realized a better cable............hehe! Sorry!
But, sure many are not into cables, and want one that sounds decent, and that is what is included. In fact (other than 4.4mm missing) the 3.5mm cable gets you in the door as far as Arcadia sound in general.
Packaging:
Minimal to say the least, though the money here was decided to go into the drivers, and due to the character and overall stage footprint the Arcadia is still a value. IMO
Conclusion:
Well, this was fun, yet not exactly my sound signature, I learned to have some great experiences. Though I have to say I do finally get where HBB is coming from with this L shaped tune. That while on first impressions it seemed a little different from the HBB heavy midrange and HBB mid-bass examples I have heard. It may actually be increased technicalities that this DD does that is the special item to write home about? And while it still is different, the Arcadia is still bound by those L shaped bass values in the end.
Note-weight and timbre:
What this does for you the listener is provide added note-weight, great timbre and a fun big stage that will challenge many of the same price-point examples out there today, including the Timeless II. Each of the 2 BAs provided by Knowles seem down-tuned enabling a smooth blend with the whole signature, yet also had the fun ability to gain treble or midrange energies with EQ.
In fact this may be the first IEM in 50 that I would recommend trying EQ with?
As such the response was both natural and brought about possibly an even better tune in the end. For campers that are looking for a smooth treble you have found it. For listeners who search-out a smooth vocal Pinna Gain that is provided too, in such a way that on some days it even came across better than I remember?
Yet make no mistake this is the style of tune that asks for volume. Added extra juice can elevate the vocals into position, and if you are game for high volume listening, you can go there too. As really the Arcadia does both bass heavy modern genres, but also can adapt to your old favorites.
$199.00
https://www.linsoul.com/products/ziigaat-hbb-arcadia
Disclaimer:
I would like to thank Kaitlyn Wu from Linsoul for the love and the ZiiGaat X HBB Arcadia review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
Disclaimer:
The ZiiGaat X HBB Arcadia has had burn-in for 168 hours.
Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C
Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Samsung Phone 3.5mm
HiBy R3 II 3.5mm/4.4mm output and 3.1 USB Type-C output
GO bar Dongle 4.4mm/3.5mm
: Good, but with a catch
Edit:i ready now the description