Reviews by BonGoBiLai
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
ddHiFi DJ65B
Price: $39.99
There is no shortage of quarter-inch adapters in the market. They are so common that even viral memes referenced their abundance a few years back. The DJ65B is quite expensive compared to run-of-the-mill quarter-inch adapters. Unlike regular quarter-inch adapters with a female 3.5mm port, the DJ65B is intended for 4.4mm balanced cables (65 refers to 6.35mm/quarter inch and B to balanced).
The DJ65B is the most beautiful quarter-inch adapter one can buy, bar none. The whole casing is milled from aluminum, and the faceplate/plaque housing the 4.4mm headphone jack is 24k gold plated. The 4.4 mm jack is exceptionally high quality, and all my 4.4mm cables click in with a satisfying snap. All the internal wire solderings are done via high-purity OCC copper. The DJ65B is an excellent match for DAC amps with similar aesthetics, such as the iFi audio pro iCAN. It is also a great aesthetic match with the Hifiman EF600, which also follows a similar industrial design language.
Sound quality-wise, the DJ65B perfectly does what it should do. It does not add color to the sound coming from the source device. There is minimal internal resistance, and I noticed zero loss in fidelity, dynamics, and sound pressure level while pairing the DJ65B with a few amplifiers. I tried it with a broad range of devices, from the sensitive Campfire audio Ponderosa to the hard-to-drive DITA project M and FATfreq scarlet mini. I noticed nothing odd or new while pairing these IEMs with the ddHiFi DJ65B.
All in all, the DJ65B provides good value. At a very reasonable price of $39, it does not alter the sound for the worse or break the bank. It is a beautiful addition to an average audiophile’s accessory collection.
ddHiFi XLR44
Price: $39.99
The XLR44B, a 4-pin XLR balanced to a 4.4 mm adapter, is a practical solution for users who want to use their 4.4 mm cables with full-sized amplifiers that lack 4.4mm outputs. While Pentaconn 4.4mm connectors are becoming more common in full-sized amplifiers, many legacy brands still prefer XLR output for balanced. The XLR 44B bridges this gap, offering a reliable and efficient solution.
The XLR 4.4B is not a unique product, though. It does not look as fancy as the DJ65B. What distinguishes it from the rest is the absolutely excellent build quality. The CNC’d outer shell shell feels premium when held and has no visible manufacturing imperfections or rough edges. The anodized black paint also looks pretty uniform, and I like the subtle ddHiFi branding; it looks quite classy.
I have used no name XLR to 4.4mm adapters from Aliexpress before, and almost all of them degraded the sound to some degree. XLR44B does not alter or enhance the sound in any way or form and sounds exactly like the raw XLR output. As a 4.4mm aficionado who hates fat XLR terminations with a passion but appreciates their rigidity and old-school charm, the XLR 4.4B is a lifesaver. Another important thing I would like to mention is the gold plating on the XLR pins of this adapter. I have noticed discoloration and oxidation even in high-end interconnect cables. But even after over six months of use, the XLR pins on my XLR44B look as good as new.
Conclusion:
ddHiFi has established itself quite well as an accessories brand. The ddHiFi XLR4.4B and DJ65B are fantastic additions to their arsenal. Unlike some fancier brands, they do not break the bank while retaining the same signature. These are no-brainer additions to every audiophile’s toolbox.
Last edited:
About KEFINE
KEFINE is a young entrant in the Chi fi IEM scene and has ties to SIVGA. Delci is only the second IEM the brand has released, the first one being the Klanar. I have also tried the Klanar and loved it for its overall tonal balance, comfort, and superb bass response. Unlike the Klanar, which is a planar IEM, the Delci employs a single 10 mm DLC+PU dynamic driver. It is also more affordable at $75, compared to the Klanar, which is priced at $119.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Specifications
Driver Configuration: 10mm DLC + PU diaphragm DD
Impedance: 28 Ω
Sensitivity: 95 dB
Frequency Response Range: 20Hz-40kHz
Dual color 164-copper cable
Unboxing, Build Quality, and Comfort
The Delci is packed in a simple, compact box. Opening the flaps reveals the earpieces and the KEFINE-branded hard shell case. The copper cable and an assortment of silicon ear tips are packed in two separate ziplock bags inside the carry case. Delci earpieces are even smaller than the Klanar, which was relatively compact in the first place. The comfort and seal I got was excellent from the get-go. The stock cable is good enough for an affordable single DD IEM, in fact much better than many of Delci’s peers, the Truthear x Crinacle RED, for example.
Though KEFINE provides a generous selection of tips with the Delci, I am not entirely sold on their quality. These tips have shorter stems than usual and are a bit stiff. I found my sweet soft with the Divinus Velvet tips for both comfort and sound quality. Spinfits and Final E types also work pretty well. Delci is a warm and smooth IEM; therefore, Pentaconn Coreir brass is also a surprisingly good pairing when I crave some extra treble sparky, though I must admit, Pairing a $50 pair of ear tips with the Delci does not make much sense unless you already have a good collection of ear tips.
Sources Used:
LG G8X thinQ
Fosi Audio SK02
Colorfly CDA M1P
Questyle CMA 18 Portable
Sound
KEFINE Delci is a warm, bassy, smooth monitor, though I will not categorize it as a dark IEM. In fact, it has many similarities with the Klanar, which, despite being a similarly warm monitor, was quite clean in its presentation.
The bass has a very linear transmission from the lower mids to the upper bass, all the way down to the sub-bass region. Delci favors sub-bass a bit more than the midbass, though there is still plenty of midbass punch, which makes classic rock or any drums-dominated track a pleasure to listen to. I thoroughly enjoyed Alice in Chains’s “Would?” on the Delci. This particular track shines with single DD IEMs, as budget all-BA and planar-based IEMs cannot faithfully produce the texture of the drum hits on this track. I had a similar experience with Led Zeppelin tracks all well. Another track I love and often use for bass tests is Sara Smile by Darry Hall and John Oates. Though not a bass-focused track, this track has some really nice bass undertones, especially in the beginning passages. This is a slow, chill track which the Delci had no trouble reproducing. Delci might have a satisfying, fun bass response, but it is still a budget IEM at the end of the day. In particular tracks, such as Jump by House of Pain, Delci was struggling to keep up with the complexity of the track. These are rare examples, though, and compared to Moondrop Aria 2, Truthear Red, and Hexa, Delci struggles a lot less as far as speed and dynamics are concerned.
Delci will be a delight for vocal lovers and timbre aficionados in general. The midrange is warm and smooth and slightly recessed in the mix. The lower midrange warmth lends some much-welcome heft and grunt to male vocals, while the upper midrange remains smooth and controlled. Female vocals sound great as well but I would prefer the delci slightly more for male vocals. The midrange does not sound overly veiled and gooey as typical budget warm IEMs tend to be. There is still a good sense of clarity, like its older sibling, the KEFINE Klanar.
The treble is smooth and subdued, except for a slight peak in the lower treble. I rarely find this peak troublesome except in some old Bollywood tracks and poorly mastered hip-hop tracks. The Delci would have been a little too smooth and boring without this extra sparkle. I think it was a conscious choice the sound engineers at KEFINE made.
Technical performance-wise, the resolution level is pretty decent for a sub $100 IEM. I would say the resolution is similar to the Moondrop Aria 2, a notch below the Meze ALBA and a notch above the Truthear Red, which nicely coincides with the price tags of each IEM. The imaging performance is exceptionally brilliant for an IEM this affordable. For those looking for a comfortable and affordable IEM for gaming, I cannot recommend the Delci enough. Separation is also quite decent. I wish the soundstage were a bit wider, though the Delci does not sound closed. Soundstage height and depth are pretty good for the price.
Scalability
Single DD IEMs love power, and the KEFINE Delci is no exception. When plugged straight into the phone jack (LG G8X ThinQ), it sounds thin and scratchy, like a dying fish writhing for water. When plugged in to the Fosi SK02 and Colorful CDA M1P, I was instantly greeted with a substantial leap in sound quality. The bass sounds more textured, and the overall sound profile had a sense of heft and articulation to it. Pairing the Delci with the Questyle CMA18P took it to a whole different level though this pairing does not make much sense from a financial point of view. I would suggest at least a mid-high-tier dongle for the Delci to get the most out of it.
Comparisons
Truthear Red: Truthear Red paired with the impedance adapter actually sounds very similar to the Delci, though the Delci's technical prowess is a notch above. I specifically prefer Delci's midrange section to the RED. Red sounds a bit too smoothed out and unresolving in that region.
Simgot EA500: I have always struggled to like the EA500 despite its overwhelming hype. EA500 has shouty upper mids and a hollow, lean bass region, which is quite the opposite of the Delci. Apparently, the EA500LM has made some improvements, though I have not tried that yet.
variant yet.
Moondrop Aria 2: The Aria 2 is similarly priced and technically similar. However, I find its fit very odd and uncomfortable, while the Delci is one of the most comfortable IEMs I have encountered under $100. In my opinion, the Delci has a superior midrange and a more palatable treble response.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Specifications
Driver Configuration: 10mm DLC + PU diaphragm DD
Impedance: 28 Ω
Sensitivity: 95 dB
Frequency Response Range: 20Hz-40kHz
Dual color 164-copper cable
Unboxing, Build Quality, and Comfort
The Delci is packed in a simple, compact box. Opening the flaps reveals the earpieces and the KEFINE-branded hard shell case. The copper cable and an assortment of silicon ear tips are packed in two separate ziplock bags inside the carry case. Delci earpieces are even smaller than the Klanar, which was relatively compact in the first place. The comfort and seal I got was excellent from the get-go. The stock cable is good enough for an affordable single DD IEM, in fact much better than many of Delci’s peers, the Truthear x Crinacle RED, for example.
Though KEFINE provides a generous selection of tips with the Delci, I am not entirely sold on their quality. These tips have shorter stems than usual and are a bit stiff. I found my sweet soft with the Divinus Velvet tips for both comfort and sound quality. Spinfits and Final E types also work pretty well. Delci is a warm and smooth IEM; therefore, Pentaconn Coreir brass is also a surprisingly good pairing when I crave some extra treble sparky, though I must admit, Pairing a $50 pair of ear tips with the Delci does not make much sense unless you already have a good collection of ear tips.
Sources Used:
LG G8X thinQ
Fosi Audio SK02
Colorfly CDA M1P
Questyle CMA 18 Portable
Sound
FR graph by Prime Audio Reviews
KEFINE Delci is a warm, bassy, smooth monitor, though I will not categorize it as a dark IEM. In fact, it has many similarities with the Klanar, which, despite being a similarly warm monitor, was quite clean in its presentation.
The bass has a very linear transmission from the lower mids to the upper bass, all the way down to the sub-bass region. Delci favors sub-bass a bit more than the midbass, though there is still plenty of midbass punch, which makes classic rock or any drums-dominated track a pleasure to listen to. I thoroughly enjoyed Alice in Chains’s “Would?” on the Delci. This particular track shines with single DD IEMs, as budget all-BA and planar-based IEMs cannot faithfully produce the texture of the drum hits on this track. I had a similar experience with Led Zeppelin tracks all well. Another track I love and often use for bass tests is Sara Smile by Darry Hall and John Oates. Though not a bass-focused track, this track has some really nice bass undertones, especially in the beginning passages. This is a slow, chill track which the Delci had no trouble reproducing. Delci might have a satisfying, fun bass response, but it is still a budget IEM at the end of the day. In particular tracks, such as Jump by House of Pain, Delci was struggling to keep up with the complexity of the track. These are rare examples, though, and compared to Moondrop Aria 2, Truthear Red, and Hexa, Delci struggles a lot less as far as speed and dynamics are concerned.
Delci will be a delight for vocal lovers and timbre aficionados in general. The midrange is warm and smooth and slightly recessed in the mix. The lower midrange warmth lends some much-welcome heft and grunt to male vocals, while the upper midrange remains smooth and controlled. Female vocals sound great as well but I would prefer the delci slightly more for male vocals. The midrange does not sound overly veiled and gooey as typical budget warm IEMs tend to be. There is still a good sense of clarity, like its older sibling, the KEFINE Klanar.
The treble is smooth and subdued, except for a slight peak in the lower treble. I rarely find this peak troublesome except in some old Bollywood tracks and poorly mastered hip-hop tracks. The Delci would have been a little too smooth and boring without this extra sparkle. I think it was a conscious choice the sound engineers at KEFINE made.
Technical performance-wise, the resolution level is pretty decent for a sub $100 IEM. I would say the resolution is similar to the Moondrop Aria 2, a notch below the Meze ALBA and a notch above the Truthear Red, which nicely coincides with the price tags of each IEM. The imaging performance is exceptionally brilliant for an IEM this affordable. For those looking for a comfortable and affordable IEM for gaming, I cannot recommend the Delci enough. Separation is also quite decent. I wish the soundstage were a bit wider, though the Delci does not sound closed. Soundstage height and depth are pretty good for the price.
Scalability
Single DD IEMs love power, and the KEFINE Delci is no exception. When plugged straight into the phone jack (LG G8X ThinQ), it sounds thin and scratchy, like a dying fish writhing for water. When plugged in to the Fosi SK02 and Colorful CDA M1P, I was instantly greeted with a substantial leap in sound quality. The bass sounds more textured, and the overall sound profile had a sense of heft and articulation to it. Pairing the Delci with the Questyle CMA18P took it to a whole different level though this pairing does not make much sense from a financial point of view. I would suggest at least a mid-high-tier dongle for the Delci to get the most out of it.
Comparisons
Truthear Red: Truthear Red paired with the impedance adapter actually sounds very similar to the Delci, though the Delci's technical prowess is a notch above. I specifically prefer Delci's midrange section to the RED. Red sounds a bit too smoothed out and unresolving in that region.
Simgot EA500: I have always struggled to like the EA500 despite its overwhelming hype. EA500 has shouty upper mids and a hollow, lean bass region, which is quite the opposite of the Delci. Apparently, the EA500LM has made some improvements, though I have not tried that yet.
variant yet.
Moondrop Aria 2: The Aria 2 is similarly priced and technically similar. However, I find its fit very odd and uncomfortable, while the Delci is one of the most comfortable IEMs I have encountered under $100. In my opinion, the Delci has a superior midrange and a more palatable treble response.
Attachments
About iFi
iFi is among the UK’s finest and has carved quite a nice niche and unique design language for itself. Although iFi’s mainline product lineup initially focused on the mid-fi segment, it now offers a highly varied catalog of products catering to all tiers of customer bases. iFi also makes a wide range of accessories alongside its flourishing desktop and portable DAC Amp arsenal. Some of these are very unique and have no real competitors. iFi iEMatch is one of the best examples of such authentic iFi specials.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
iEMatch 4.4 Specifications
Price $69
Ultra (-24dB) & High-Gain (-12db) sensitivity adjustment
Custom minZ™ helix construction design, intrinsic shielding provided by minZ™ helix
6N silver/copper matrix wiring with FINAL6063-T5 aluminium-magnesium alloy shell
Gold-plated printed circuit board with audiophile components (e.g., MELF resistors)
Gold-plated 4.4mm male/female connectors
Input Impedance < 40 Ohms (High-Sensitivity)
< 50 Ohms (Ultra-Sensitivity)
Output Impedance < 8.4 Ohms (High-Sensitivity)
< 3.6 Ohms (Ultra-Sensitivity)
Weight 17.5g (0.62oz)
Length 116mm (4.6")
Warranty 12 months
What is the IEMatch?
The iEMatch by iFi Audio is an audio optimizer designed specifically for 3.5mm, 2.5mm, and 4.4mm amplifier outputs. It is primarily targeted towards highly sensitive headphones and IEMs that are susceptible to high noise floor and therefore, have audible background hiss and crackles when plugged in. Though iFi originally made only the 3.5mm variant of the IEMatch, they eventually released the 2.5mm and 4.4 mm balanced version of it.
The 4.4mm version has 24dB noise reduction in ultra sensitivity mode and 12 dB noise reduction in high sensitivity mode. Alongside removing hiss and background noise, IEMatch also addresses the issue of suboptimal volume levels, which I will discuss in detail in a later part of this review. According to iFi audio, at least 2 Bits of resolution are lost when listening to music at lower-than-optimal volumes. The iEMatch enables users to turn up the digital volume and safely get those 2 Bits back. You can check out iFi’s tech note from this link for detailed information.
Unboxing experience and Build quality observation
The iEMatch 4.4 comes packed in a compact white packaging box. iFi has a unique aesthetic vibe going on with its packaging, just like its DAC Amps and accessories. The packaging can be instantly recognized as an iFi product from afar. Removing the outer packaging reveals a phone cutout snugly housing the iEMatch itself. iFi provides some interesting extras with the iEMatch. You will get a pair of lime green earplugs alongside a beautiful velvet pouch as complimentary gifts.
The build quality of iEMatch 4.4 is entirely flawless. The male and female TRRS shells/casings are made from 6063-T5 aluminium-magnesium alloy, which is quite an improvement from the original 3.5mm version. The texture and finishing of the metal parts look and feel super premium. The wire portion is made from 6N silver/copper matrix wiring. iFi used a unique helix construction design aptly named minZ™ for the wire. I do not know what this name signifies, but it sounds hella cool, not gonna lie.
iFi has achieved the perfect mean between weight balancing and premium construction with the iEMatch 4.4 edition. There is no extra pressure on the 4.4 mm ports of the source devices, and connecting the iEMatch with IEM wires feels seamless and natural. There is no weird uncanny valley originating from this pigtail configuration, which I often encounter with different converters and adapters. The iEMatch 4.4 is an absolute joy to own from an ease-of-use perspective.
Performance:
Fortunately, I have access to some of the best possible match-ups to test the iEmatch 4.4's capability. My daily driver is the Questyle CMA 18P, an amazing-sounding device with a very audible noise floor. Even medium-sensitivity IEMs and easy-to-drive headphones produce hiss while idle if paired with the CMA 18P. Additionally, I borrowed my friend’s iFi Go Blu and iFi Diablo to test the iEMatch. I also tried my PC’s noisy front panel jack with a 3.5mm to 4.4 mm adapter as a joke.
As for IEMs, I tried some of the most sensitive IEMs I could get my hands on. I extensively tried the highly sensitive Campfire Audio Ponderosa and medium-high sensitive Flipears Aurora, Artha, and Vision Ears Aura. I wish I had access to the poster child of sensitive IEMs, the original Campfire Andromeda. But the Poderosa is an excellent testing alternative nonetheless. I also tried it with the highly sensitive Sony MDR MV1. The MV1 has a single-ended cable by default, though I got an aftermarket cable supporting 4.4 balanced outputs.
Pairing the iFi iEMatch with the CMA 18P was pure magic. All traces of RF interference and background hiss was instantly omitted. I initially started with the mid-high-sensitive Vision Ears Aura. Then I switched to the Flipears Aurora and was impressed once more. The Ponderosa was dead silent with its full capability intact, which once again proved the iEMatch’s capability. After the CMA 18P, I tried the iEMatch with the iFi Go Blu’s 4.4mm balanced output, which is known for its impressive output power but higher noise floor. iFi Diablo v1, despite being iFi’s former portable flagship (now replaced with a more expensive upgrade), does not have an integrated iEMatch, unlike the iDSD Gryphon and iDSD Signature. The Diablo is primarily targeted towards hard-to-drive, full-sized headphones and is not that ideal for IEMs. The iEMatch worked flawlessly with both iFi portables. The MV1 hisses with CMA 18P but not with the iFi portables, so removing its hiss was even more of a cakewalk.
This noise issue can also be resolved via cheap impedance adapters from aliexpress. Unfortunately, there will be a subsequent loss of resolution and alteration in sound signature with these adapters, often not for the better. The iEMatch, on the other hand, not only eliminates the hiss but also fully preserves the resolution and dynamics. In fact, I noticed a noticeable improvement in dynamics when paired with sources boasting higher output power, as I could use more headroom. The reduction in SPL/Output volume allowed me to crank up the volume knob without the risk of blowing out the drivers. With high power sources, the true capability of the amplifier is often unexplored with high-sensitivity headphones and IEMs. Plugging the iEMatch is the best possible workaround I can think of for this issue.
Should you buy it?
The iEMatch is not particularly expensive at $69, given its ease of use and convenience. I believe it is a great everyday carry accessory not only for sensitive IEM/Headphone users but also for beefy headphone amplifier owners who would like to hook up their IEMs to these amps and crank the volume as far as they can. The iEMatch 4.4mm gets the highest recommendation I can give to an audio accessory.
iFi is among the UK’s finest and has carved quite a nice niche and unique design language for itself. Although iFi’s mainline product lineup initially focused on the mid-fi segment, it now offers a highly varied catalog of products catering to all tiers of customer bases. iFi also makes a wide range of accessories alongside its flourishing desktop and portable DAC Amp arsenal. Some of these are very unique and have no real competitors. iFi iEMatch is one of the best examples of such authentic iFi specials.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
iEMatch 4.4 Specifications
Price $69
Ultra (-24dB) & High-Gain (-12db) sensitivity adjustment
Custom minZ™ helix construction design, intrinsic shielding provided by minZ™ helix
6N silver/copper matrix wiring with FINAL6063-T5 aluminium-magnesium alloy shell
Gold-plated printed circuit board with audiophile components (e.g., MELF resistors)
Gold-plated 4.4mm male/female connectors
Input Impedance < 40 Ohms (High-Sensitivity)
< 50 Ohms (Ultra-Sensitivity)
Output Impedance < 8.4 Ohms (High-Sensitivity)
< 3.6 Ohms (Ultra-Sensitivity)
Weight 17.5g (0.62oz)
Length 116mm (4.6")
Warranty 12 months
What is the IEMatch?
The iEMatch by iFi Audio is an audio optimizer designed specifically for 3.5mm, 2.5mm, and 4.4mm amplifier outputs. It is primarily targeted towards highly sensitive headphones and IEMs that are susceptible to high noise floor and therefore, have audible background hiss and crackles when plugged in. Though iFi originally made only the 3.5mm variant of the IEMatch, they eventually released the 2.5mm and 4.4 mm balanced version of it.
The 4.4mm version has 24dB noise reduction in ultra sensitivity mode and 12 dB noise reduction in high sensitivity mode. Alongside removing hiss and background noise, IEMatch also addresses the issue of suboptimal volume levels, which I will discuss in detail in a later part of this review. According to iFi audio, at least 2 Bits of resolution are lost when listening to music at lower-than-optimal volumes. The iEMatch enables users to turn up the digital volume and safely get those 2 Bits back. You can check out iFi’s tech note from this link for detailed information.
Unboxing experience and Build quality observation
The iEMatch 4.4 comes packed in a compact white packaging box. iFi has a unique aesthetic vibe going on with its packaging, just like its DAC Amps and accessories. The packaging can be instantly recognized as an iFi product from afar. Removing the outer packaging reveals a phone cutout snugly housing the iEMatch itself. iFi provides some interesting extras with the iEMatch. You will get a pair of lime green earplugs alongside a beautiful velvet pouch as complimentary gifts.
The build quality of iEMatch 4.4 is entirely flawless. The male and female TRRS shells/casings are made from 6063-T5 aluminium-magnesium alloy, which is quite an improvement from the original 3.5mm version. The texture and finishing of the metal parts look and feel super premium. The wire portion is made from 6N silver/copper matrix wiring. iFi used a unique helix construction design aptly named minZ™ for the wire. I do not know what this name signifies, but it sounds hella cool, not gonna lie.
iFi has achieved the perfect mean between weight balancing and premium construction with the iEMatch 4.4 edition. There is no extra pressure on the 4.4 mm ports of the source devices, and connecting the iEMatch with IEM wires feels seamless and natural. There is no weird uncanny valley originating from this pigtail configuration, which I often encounter with different converters and adapters. The iEMatch 4.4 is an absolute joy to own from an ease-of-use perspective.
Performance:
Fortunately, I have access to some of the best possible match-ups to test the iEmatch 4.4's capability. My daily driver is the Questyle CMA 18P, an amazing-sounding device with a very audible noise floor. Even medium-sensitivity IEMs and easy-to-drive headphones produce hiss while idle if paired with the CMA 18P. Additionally, I borrowed my friend’s iFi Go Blu and iFi Diablo to test the iEMatch. I also tried my PC’s noisy front panel jack with a 3.5mm to 4.4 mm adapter as a joke.
As for IEMs, I tried some of the most sensitive IEMs I could get my hands on. I extensively tried the highly sensitive Campfire Audio Ponderosa and medium-high sensitive Flipears Aurora, Artha, and Vision Ears Aura. I wish I had access to the poster child of sensitive IEMs, the original Campfire Andromeda. But the Poderosa is an excellent testing alternative nonetheless. I also tried it with the highly sensitive Sony MDR MV1. The MV1 has a single-ended cable by default, though I got an aftermarket cable supporting 4.4 balanced outputs.
Pairing the iFi iEMatch with the CMA 18P was pure magic. All traces of RF interference and background hiss was instantly omitted. I initially started with the mid-high-sensitive Vision Ears Aura. Then I switched to the Flipears Aurora and was impressed once more. The Ponderosa was dead silent with its full capability intact, which once again proved the iEMatch’s capability. After the CMA 18P, I tried the iEMatch with the iFi Go Blu’s 4.4mm balanced output, which is known for its impressive output power but higher noise floor. iFi Diablo v1, despite being iFi’s former portable flagship (now replaced with a more expensive upgrade), does not have an integrated iEMatch, unlike the iDSD Gryphon and iDSD Signature. The Diablo is primarily targeted towards hard-to-drive, full-sized headphones and is not that ideal for IEMs. The iEMatch worked flawlessly with both iFi portables. The MV1 hisses with CMA 18P but not with the iFi portables, so removing its hiss was even more of a cakewalk.
This noise issue can also be resolved via cheap impedance adapters from aliexpress. Unfortunately, there will be a subsequent loss of resolution and alteration in sound signature with these adapters, often not for the better. The iEMatch, on the other hand, not only eliminates the hiss but also fully preserves the resolution and dynamics. In fact, I noticed a noticeable improvement in dynamics when paired with sources boasting higher output power, as I could use more headroom. The reduction in SPL/Output volume allowed me to crank up the volume knob without the risk of blowing out the drivers. With high power sources, the true capability of the amplifier is often unexplored with high-sensitivity headphones and IEMs. Plugging the iEMatch is the best possible workaround I can think of for this issue.
Should you buy it?
The iEMatch is not particularly expensive at $69, given its ease of use and convenience. I believe it is a great everyday carry accessory not only for sensitive IEM/Headphone users but also for beefy headphone amplifier owners who would like to hook up their IEMs to these amps and crank the volume as far as they can. The iEMatch 4.4mm gets the highest recommendation I can give to an audio accessory.
Kinera Imperial Verdandi is named after, well, Verðandi. The name “Verðandi” is derived from Old Norse and possibly means “happening” or “present.” It is literally the present participle of the Old Norse verb “verða,” which translates to “to become.” In other words, Verðandi signifies “that which is happening” or “in the making.” Verðandi embodies the present moment and the ongoing process of change. She is associated with the unfolding events and the choices made by individuals. Together with her fellow Norns, she weaves the threads of destiny that shape the lives of mortals. Verðandi’s sphere of influence lies in the present, emphasizing the importance of living consciously and making deliberate decisions
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$1199
Specifications:
Driver array:
2 Knowles balanced armature (BA) drivers
2 Sonion electrostatic (EST) drivers
1 dynamic driver (DD)
1 bone conduction driver (BC) for low frequencies
Impedance: 14 ohms
Sensitivity: 105 dB
Frequency Response: 20Hz-50kHz
Unboxing, Build, Comfort:
Kinera Verdandi comes packaged in a hexagonal box resembling a box of premium sweets or chocolate truffles. This hexagonal packaging has become a Kinera signature already. I received my Norn in a similar-looking package as well. Kinera is one of the few Chinese manufacturers alongside Dunu, who always go overboard with accessorisation. Even their ultra-budget Tyr IEM came with a set of Final E-type tips. Kinera is extremely generous with the extras they provide with the Verdandi. Alongside the stock “vocal” tips and the teal carrying pouch, Kinera also provides a set of Final E Type and AZLA Sednaearfit Crystal silicone tips. The stock cable is no slouch, either. It is a Flash Acoustics Monocrystalline copper cable featuring modular terminations.
The Verdandi has two different color schemes. Mine is the Holo version, which showcases a combination of transparent resin, Dark marine blue, and splotches of orange-ish gold. It looks absolutely stunning, especially in daylight. It is one of the prettiest IEMs I have laid my eyes upon, regardless of price. I have a minor complaint, though, and that is the size of the carry case. It is functional and very pretty, but I wish there was more space inside.
The Verdandi veers on the larger side, but it is not as large as some ToTL IEMs can be, the Elysian Annihilator, for example. There is no driver flex or air pressure build-up. I had zero comfort issues with the Kinera Verdandi in long listening sessions. One interesting thing to note, though. The Verdandi does this “twang” thing when the shells are lightly tapped. This twang is from the bone conduction driver, which I found quite fascinating, stress relieving even, like a fidget spinner.
Sound:
FR Graph by Timmy Vangtang of GizAudio
Verdandi has the most balanced, “right” sounding tuning Kinera has achieved yet in the kilobuck range. I especially liked how linear it sounds throughout the entire frequency without any sudden spike of suck-out. Tonality-wise, Verdandi is a warm-neutral monitor with some extra emphasis on bass and lower treble.
The bass response of the Verdandi is my favorite aspect of this IEM. Verdandi is not particularly a basshead IEM, but the texture and layering are easily among the absolute best under $1500. I specifically loved how natural the kick drums sound on the Verdandi, making hard rock and fast-paced metal an absolute joy. There is this sensation of sub-bass enveloping around the skull, which is quite unique for an IEM in this price range. The sheer capability of the bone conduction driver on the Verdandi is no joke.
The midrange is smooth, warm-leaning, and uncolored with a slight recess. I found nothing fundamentally wrong with the mids here. I will not necessarily coin the term “lush” for Verdandi’s midrange, as Kinera did not opt for a velvety warm presentation. The vocals are crystalline, have enough heft to not sound thin, and are never harsh or shouty. The midrange execution is fantastic here and gets a solid thumbs up from me.
Verdandi’s treble is rather interesting. It is not hard-edged or shimmery, especially when paired with slightly warm/Smooth sources like the Cayin RU7 and Questyle CMA 18 Portable. It is not elevated in the upper treble, especially past the 12-13k region. I think it was a conscious tuning choice and the right one; otherwise, Verdandi would have lost its natural,warm-neutral underpinnings. Trailing edges of notes in the treble region are sharp and well-defined but do not cause fatigue, especially when the seal Is deep and secure. With wrong tips and shallow fit, the lower treble energy can go slightly haywire, though fortunately, kinera already provides a generous selection of tips with the Verdandi. Proper fit is absolutely crucial to tap the full potential of this IEM.
Verdandi is among the absolute bests under $1500 as far as soundstage and separation are concerned. It even trades blows with the legendary Sony IER Z1R in this regard. Goodbye to Romance by Ozzy Osbourne was a mesmerizing experience for me with the Verdandi, and so were 80’s funk and disco tracks, which are often mastered to be very wide. The resolution is decent. I personally have no qualms regarding the detail level of the Verdandi. It is comparable to the Sennheiser IE900 and IER Z1R in terms of raw detail, which is more than good enough in my book. Imaging is above average for the price and on par with its fantastic staging capabilities.
Comparisons:
Sennheiser IE900:
The IE900 is more V-shaped and shimmery in the treble. I find the Verdandi to be a better all-rounder than the IE900. I am not too keen on the IE900’s imaging capability, either. Bass quality is about equal on both, though the presentation is slightly different. IE900 focuses on tactile, sharp punch, while the Verdandi has an enveloping, rumbly sub-bass. IE 900 is very comfortable thanks to its ultra-small footprint,, but it is not that ideal for noisy environments as bass attenuation from outside noise sort of alters the IE900's signature. Verdandi isolates and performs well in noisy environments just fine.
Symphonium Helios:
Helios is a bit of an anomaly as it can push ToTL-level detail and technicalities. It is brighter in the upper treble and has a leaner midrange compared to the Verdandi. Thanks to its unconventional shape and large footprint, Helios is also less comfortable than the Verdandi, especially for those with small ears. Helios is even more sub-bass tilted than the Verdandi, while the Verdandi has more balance between sub-bass and mid-bass. Helios is also very hard to drive and source picky. Without high end sources, Helios will noticeably underperform while the Verdandi has no such prerequisites.
Sony IER Z1R:
The Z1R is still the champion of old school bass. It punches harder than the Verdandi though the decay is noticeably slower on the Z1R. Z1R has a drier midrange which is more recessed than the Verdandi. Detail and soundstage capability is about equal on both. Z1R has very large Zirconium shells and comfort is a common grip for a lot of audiophiles with them. Verdandi on the other hand, is quite comfortable with the right tips.
Last edited:
Astral's cables are on the expensive side but not unfairly priced in my opinion. For finished cables, Astral charges as low as $200 all the way up to $950. They also sell raw materials like connectors, terminations, and wires separately. You can buy the materials from them and make your own cable at a more affordable cost. Astral offers OEM services to IEM manufacturers as well.
I have three Astral Acoustics cables at my disposal, so I cannot comment on the rest of the models. I will discuss the characteristics of each of the three in a later section, but I must appreciate the flawless craftsmanship first. I have come across uber-expensive cables from PWaudio, Eletech, and Effect Audio. I also have had some experience with mid-high-end cables from Null Audio, Liquid Links, and Forza Audio Works. Astral Acoustics cables are in a league of their own in terms of fit and finish. All of the three Astral cables I have are lightweight, flexible, tangle-free, have amazing skin feel, and most importantly, neither too thick nor too thin. The founder personally inspects each cable before they are ready for dispatch. This is zero chance of misbraids or QC mishaps as a result. I also highly appreciate Astral Acoutsic’s reliance on elegant subtly rather then obnoxious opulence. I would not name names, but certain brands often go for ornate, heavy Y splits and wire cinch that add nothing to the sound. These added weights massively compromise wearing comfort, especially in long listening sessions. Superficial extras like this ruin these cables for me, no matter how great they otherwise are. Astral Acoustics utilizes top-quality connectors, and Y splits alongside minimal chin slider/ cinch that are actually functional. This 10/10 execution of form and function is unfortunately quite rare under $1000
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
IEMs used:
Craft Ears Omnium
Fatfreq Grand Maestro
FlipEars Aurora
FlipEars Aether
DITA Project M
Kinera Verdandi
Sony IER M9
Campfire Ponderosa
Campfire Cascara
Sources Used:
Sony WM1ZM2
Aroma Audio A100TB
Questyle CMA 18 Portable
Colorfly CDA M1P
Fosi Audio SK02
*A variety of sources ranging from ultra-budget to flagship tier has been used
Astral Audio Reference Silver:
Price and Specs:
$750
4x 23.5 AWG Type 6 Litz 5n Silver
Lead time: 5 days with 50 hours burn-in
Warranty: Three years
The Reference Silver cable has one singular focus: pushing all the details in an uncolored manner but without introducing extra treble shimmer. To test the limit of the Reference Silver, I decided to pair it with the brightest IEM in my inventory: The DITA Audio project M. Project M is a ridiculously well-tuned and technical IEM at an astoundingly aggressive price point of only $325. Project M’s treble is handled by a single BA placed directly in the nozzle. On sizzly tracks, its treble can get quite hot and shimmery. I usually do not listen to modern hip-hop tracks with Project M, as almost everything from this genre is terribly mastered nowadays. Interestingly, the stock cable of this IEM is pretty high-end itself, as it uses genuine CARDAS clear internals. Therefore, Project M seemed like the perfect acid test for the Reference Silver Cable to me.
I loved Project M’s synergy with the Reference Silver Cable. True to Astral Acoustic’s claim, the treble shimmer was a lot more controlled and even. “Riders on the Storm” Snoop Dog remix from NFS Underground 2 is a track I religiously avoid with Project M, thanks to its murderous treble spikes. With the Reference Silver, I had no qualms playing this track, even at a higher volume. Another important change this cable brings is the enhancement of background details. Details that are otherwise difficult to catch or focus on become more vivid and accentuated.
Referene Silver also had awesome synergy with the Kinera Verdandi, which was a bit shouty and shrill with its stock Flash Acoustics cable. With the reference silver, the upper midrange to lower treble transition is much smoother and linear. Verdandi’s otherwise elevated bass response became more neutral, though the overall improvement in timbre and linearity made this minor trade-off a non-issue for me.
I had an identical experience with the FATfreq Grand Maestro as well, and I would highly recommend the reference silver for this particular IEM. The Grand Maestro has a slightly intense top end, which became richer and more palatable with the Reference Silver. Midrange and Bass were faithful to the original tuning, with a noticeable improvement in front-to-back imaging. With IEMs that have a velvety smooth top end, the FlipEars Aurora and Craft Ears Omnium, for example, the Reference Silver's synergy was great, but I would much recommend the Pulse for these particular IEMs instead, which I would discuss in the next segment.
Astral Acoustics Pulse:
Price and Specs:
$550
Material: 4x 23 AWG Type 6 Litz Multi-Sized LCOFC Copper
Lead Time: 1 Week with 50 hours burn-in
Warranty: Three years
The Pulse is the continuation of the discontinued Stage 1 copper cable, which is a major part of Astral Acoustic’s structure experiment journey, where different-sized strandings were experimented with. This is also the cable from which Astral’s series of “King Copper” derived. The pulse has identical build quality, weight and comfort to the Reference Silver. The Reference Silver is softer and more butter-like when handled, while the Pulse cable has a springy, slightly stiff skin feel.
The pulse cable is energetic and colorful and had ridiculously good synergy with my FlipEars Aether IEM. I could not believe I was listening to a $700 USD IEM. The upper treble opened up by a significant margin. The Bass became less wooly and much more dynamic and tactile, like a proper dynamic driver bass rendition. Aether has fantastic bass for an all-BA set. But with the Pulse cable, the low-end and treble enhancement was just ridiculous. Pulse pumps in some upper midrange energy, which works wonders with velvety IEMs like the Aether and Aurora.
Among the ToTLs I have tried the Pulse with, the Craft Ears Omnium was by far the best match. Omnium’s stock cable is pretty basic and it does not have much bass elevation in its stock config. With the Pulse+ Aroma A100TB combo, Omnium can give basshead IEMS a serious run for their money. Omnium is a non-offensive, ultra-safe sounding IEM overall. Pulse gives it just enough spice to make it subtly fun and aggressive without altering the base signature.
I would not recommend the pulse for Project M, Verdandi, or anything aggressive in the treble. I think the Reference Silver is the superior match for that type of tuning.
Astral Acoustics Mars:
Price and Specs:
$650
Material: Long Crystal Copper
Lead Time: 1 week with 50 hours burn-in
Warranty: Three years
According to Astral Acoustics, the Mars cable is crafted to be an all-rounder. It is an interesting-looking cable. Unlike the Reference Silver and Pulse cables, Mars uses two separate wires (or cores?) divided into one on each side instead of four divided into two on each side. Overall, the thickness and weight of the Mars cable are similar to those of the Pulse. Mars's flexibility and comfort are identical to that of the Pulse.
The Mars is actually the continuation of the “King Copper” series after the making of the Pulse. Astral Acoustics has toned down the internal wire gauge and taken a more gentle approach to tuning when crafting the Mars. A lot of thought and experiments went into Mars, the most apparent of all being the coaxial structure. It is not a real shielded cable. Astral has termed this structure a “passive shield,” achieved via the coaxial structure.
The Mars cable I have at my disposal is MMCX, so I had only three options to try with it. Fortunately, all three were great acid tests to gauge the Mars cable's capability. I tried it with the Campfire Audio Ponderosa and Cascara. Both are bassy IEMs with intimate soundstage. The Mars cable kept the tuning largely untouched but expanded the stage. Images became easier to pinpoint. The whole sound just opened up like a magnifying glass.
The Sony IER M9 is even more intimate and does not want to work with most aftermarket cables other than its own and the Sony Kimber Kable. With Mars, the M9 performed similarly to the Kimber Kable combo but with a more expanded stage and tighter bass. The Mars cable significantly increased comfort across all three IEMs I paired it with. It is a very safe cable to blind-buy in case you are confused regarding which direction you want your IEM to take. It has generally great synergy across signatures.
Last edited:
Fosi has entered the portable game recently and has been quite successful so far. I have tried their DS1 and DS2 dongles, both of which provide excellent value for the money. SK02 is a bit different from typical dongles. I will not call it a complete desktop solution, either. Form factor and functionality-wise, it is close to the Micca Origen DAC Amp, which has not been updated for years now, and I do not think we will see another Origen Amp.
There is hardly anything like the SK02 in the market, especially at such a tempting price point, and I absolutely adore the SK02!
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$99 ($79 with coupons when applicable)
Specifications:
DAC Chip: ESS SABRE ES9038Q2M
Output Power:
3.5mm Single-End Output: Up to 280mW at 32 ohms.
4.4mm Balanced Output: Impressive 1100mW at 32 ohms.
Signal-to-Noise Ratio (SNR):
3.5mm Output: 120dB
4.4mm Balanced Output: 116dB
Noise Floor:
3.5mm Output: 13μV
4.4mm Balanced Output: 6μV
Supported Formats:
PCM: Up to 384kHz
DSD: Up to DSD256
Input/Output Interfaces:
3.5mm Single-End & 4.4mm Balanced Outputs, additional 3.5mm output on the rear
Supports both Optical & USB Inputs
Unboxing, Build Quality, and Features:
Fosi Audio SK02 arrives in a mid-sized cardboard packaging with Fosi Audio branding and slogan on the top side (Hifi made fun). The only mention of SK02 is on the top right (It is basically a small sticker with SK02 printed on it). Opening the cardboard box reveals the Fosi SK02 unit safely nestled in between foam cutouts, alongside a small manual and a long 1-meter USB cable. I actually liked the USB cable quite a bit. It is an OTG-supported Type C to C cable with an integrated Type C to USB A adapter on one end. I highly appreciate this adapter inclusion as it makes switching between ports and different devices seamless. The cable has some memory out of the box but it is above average overall in terms of quality.
The Entire Fosi SK02 outer shell is milled out of Aluminum. For a budget device, the powder-coated aluminum exterior feels extremely well made. There is no rattle or loose parts, and the connectors seem to be of very high quality. SK02 has three outputs. Primary outputs are the 3.5mm unbalanced and 4.4mm balanced port on the front. There is also an additional 3.5mm aux/optical output on the back. The rear output's power is still tied to the volume wheel, and SK02 can function as a Pre Amp via this output. The output power of this port is less compared to the front 3.5mm port. On the rear, there is a single USB port that handles data and power input simultaneously. SK02 also has a SPIDF optical port on the rear, which is an awesome inclusion. I can easily connect affordable streaming devices like the WiiM mini via this optical port whenever I want and turn the SK02 into a dedicated mini streamer.
I liked the multifunctional volume knob as well. It has really nice, tactile steps and micro-adjusting volume is a breeze. There is no sudden jump or drop in sound pressure level while adjusting the volume. The volume decrease/increase increments are highly linear and granular; therefore, finding the sweet spot is super convenient. Pressing the volume knob once pauses music; pressing it twice mutes the device and vice versa. Pressing the knob for a few seconds turns the device off or on.
SK02 relies on LED indicators to display the current status. There are separate LEDs for different bit rates, and the gain switch and input toggle switch have their own LED indicators as well. I loved how ingeniously Fosi audio has integrated volume level into a single LED. The volume indicator pulses with music beats, and depending on the volume level, the pulse rate increases exponentially, alongside subtle LED color changes (Purple to Blue and then to Red). Constantly lit volume LED without pulse means the SK02 has reached a very high volume. You might want to reduce the volume at this point to preserve your precious hearing.
Output Power and Sound Quality:
Though priced similarly to mid-fi dongles, SK02's output power is no joke despite being a single USB-powered device. The output power from the 4.4 mm port can reach up to 1100 MW @ 32 Ohms, which is in the same ballpark as serious portable devices like the iFi Gryphon, Questyle CMA 18 Portable, and Shanling H7. The 3.5mm is also quite powerful (280mW) if compared to dongles. 280 mW is where most dongles top out nowadays, that too on 4.4mm balanced out (understandable given the power efficiency and heat management dongles must maintain). There is a catch, though. Max power is only achievable when connected to a computer. SK02 works flawlessly with smartphones and tablets and remains quite powerful still, but as it is not as power-efficient as dongles, It will drain the source device's battery life at a much faster rate.
The SK02 effortlessly drives dynamic headphones up to 300 Ohms. I had no qualms driving the Sennheiser HD 650 on it, and the SK02 did a much better job driving the 650 than even flagship dongles (Questyle M15 and Cayin RU7, for example). I also ran my Arya Organic at approximately fifty percent volume and enjoyed the synergy a lot! SK02 has a dead quiet output, so driving IEMs is a non-issue. I tried it with ultra-sensitive Campfire Ponderosa and FlipEars Aurora, and no trace of background hiss was to be heard. I have already praised the granular adjustment of the volume pot. No matter how sensitive or stubbornly hard to drive the IEM is, finding the sweet spot for each IEM has never been an issue.
Fosi Audio SK02 is a neutral-sounding DAC Amp with some extra warmth, though I will not classify it as a warm DAC Amp. I have never found the SK02 to be harsh or artificially boosted in the treble. I drive my Hifiman Arya Organic with it regularly, which is a significantly trebly headphone, especially in the upper treble frequency. I also drive my DITA Project M with it from time to time, which is known for its bright presence region. Neither of these two showcased any hint of extra harshness or treble sheen with the SK02. I actually find the SK02's treble to be more subdued than the Questyle M15 (artificial treble sheen) and the Earmen Angel (uses the same chip, significantly brighter in comparison).
The midrange performance is very decent. There is no recess or lower mid suck-out whatsoever. SK02 has a mildly warm-leaning, full-bodied, uncolored midrange that does nothing wrong fundamentally. SK02 showcased a very uniform, consistent performance across different IEMs and headphones in this frequency band. The vocals sound specifically good on it. In fact, I found the SK02's vocal rendition to be as good as the likes of Cayin RU7 and iBasso DC04 pro, if not better. Both of these two dongles cost more than the SK02, by the way. Guitar tones sound a wee bit soft, but that is only evident when A/B ing with much higher-end sources.
The low end is balanced and controlled, with no particular coloration or elevation in this frequency band. The bass sounds tight and properly extended with good subbass presence. Bass is also where Fosi SK02's budget underpinnings come into play. Compared to mid-fi sources like the Questyle CMA 18P, Mojo 2 and iFi Gryphon, SK02's low end is not as nuanced or textured. This comparison is unfair, though, as these three cost several times more than the SK02. Ironically, I prefer the SK02's bass to Cayin RU7's (too wooly and diffused for my taste). I would rate SK02's bass roughly at the level of iBasso DC04 pro and Colorfly CDA M1P.
Soundstage and imaging capabilities are decent, excellent, to be precise, and I have no qualms regarding SK02's resolution level. It is technically as sound as mid-high-level dongles. Moreover, SK02's exceptionally black background is a rarity, even among DAC Amps that are priced much higher. I was quite amazed when I paired the SK02 with the Aroma Audio A100TB portable combo. I understand it is a silly combo, given the A100TB costs $772, and what I was listening to was largely A100TB's own magic, but man, It genuinely sounded next level, even better than some high-end/mid-high-end portable device's raw output.
Comparison:
SK02 is a difficult device to compare due to its unusual yet practical form factor; I would still try to draw comparisons with a few portable sources, costing up to $300
Colorfly CDA M1P:
The CDA M1P is an underrated dongle that sounds awesome and provides great value for money. It is significantly warmer and denser-sounding and has a smaller soundstage than the SK02, which is less colored, has better dynamics, and is more spacious. M1P has better synergy with shrill/shouty IEMs due to its rounder, warmer top end.
iBasso DC04 Pro:
iBasso DC04 Pro is a neutral dongle and does not sound much different from the SK02. It has a slightly tighter and more textured bass response, but that is only evident when pairing both with high-end IEMs and headphones that have the capability to showcase these nuances in the first place.
Questyle M15:
M15 has a punchier, more robust-sounding low end, though I have some issues with its somewhat artificially boosted treble. M15 is more resolving than the SK02 (it is among the most resolving dongles, to be frank), but the soundstage is significantly smaller. I also prefer SK02's treble presentation.
iFi Hip DAC, ZEN Dac, Go link, and Uno:
I honestly see no reason to buy any of these over the SK02, especially the Uno and Zen DAC (as a standalone purchase), unless you are a hardcore iFi fan. The Go link is sonically inferior, but it is highly portable, so it is not a fair comparison. None of these four are particularly resolving or powerful. I am not too keen on the mythical iFi timbre as well. they simply sound overly warm and low-res to me, especially in their budget segment.
Last edited:
FATfreq (AKA Fat Frequency) is a Singaporean boutique brand specializing in high-quality, handcrafted in-ear monitors (IEMs) for musicians, engineers, and audiophiles. FATfreq’s pro IEMs are generally custom in ears and tuned to be neutral, while their consumer-focused universal fit IEMs fall under their “Maestro” category of IEMs.
FATFreq has always been a rather unique brand doing unique things. The founders have a clear penchant for thunderous sub-bass, and even the tamest Maestro series IEM, Grand Maestro, is a monster when it comes to sub-bass rumble (It is also the current FATfreq flagship). So what happens when the brilliant and innovative engineers at FATFreq add a massive 30 dB sub-bass shelf? Well, the result is right here: The "Scarlet Mini" from FATFreq is Basshead spirit incarnate.
Price
$629 (default cable) or $786 (upgraded silver-red cable)
Specifications:
Using proprietary dynamic woofers, bass chambers, and acoustic damping networks, FATfreq has tuned the Scarlet Mini to achieve the deepest and most elevated bass response ever recorded in an audiophile IEM at over 30 dB. It is also meticulously controlled below 200Hz with zero mid-range bleed. This innovation was pioneered and perfected for one singular focus: Sheer bass monstrosity.
FATfreq uses proprietary circuits inside the Scarlet Mini to correct the non-linear impedances of multi-driver systems. According to FATfreq, the different output impedances across all your devices cause frequency response to vary. This tech ensures consistency in frequency response for all our IEMs when plugged into any device—be it your PC front panel, phone audio jack, or dedicated DAP.
However, in reality, the source is a crucial factor for the Scarlet Mini to perform optimally, which I will shed light on later in this review. , FATfreq also uses exponential horn curvature for gain-control and to improve treble tonality via acoustics, drawing inspiration from a traditional French horn.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Build and comfort:
Scarlet Mini features super tiny earpieces, identical to the cheaper Maestro Mini, which costs roughly half. The earpieces feature a beautiful shade of red, “Scarlet,” to be precise, alongside gold accents featuring FATfreq's insignia. Thanks to the super tiny footprint and almost non-existent weight, comfort is exceptionally good.
The unboxing experience remains impressive, as always with all FATfreq IEMs. Scarlet Mini comes with a sizeable red pelican-style case, aptly named "FATBOX" by FATfreq themselves. The first thing that grabbed my attention upon opening the case was the big silica gel container box smack in the middle of the case. Rest are pretty standard affair. There was the IEM itself and the upgraded silver-red cable (which is optional; you can order the regular package with a simpler cable for a reduced quote). The tips FATfreq provides with this IEM are generic grey tips with red core. They are very comfortable, hypo-allergic, and work fine with Scarlet Mini. Thanks to its regular-sized nozzles, the Scarlet Mini is highly tip-roll friendly as well. The upgrade cable is modular and is a bit on the stiff side, though It is lightweight and does not tangle at all, so zero issues from a comfort standpoint. The upgrade cable also has screw-in shrouds covering the modular connection, which protects the cable from accidental detachment in case of sudden tugs or pulls.
Sound
FATFreq has always been a rather unique brand doing unique things. The founders have a clear penchant for thunderous sub-bass, and even the tamest Maestro series IEM, Grand Maestro, is a monster when it comes to sub-bass rumble (It is also the current FATfreq flagship). So what happens when the brilliant and innovative engineers at FATFreq add a massive 30 dB sub-bass shelf? Well, the result is right here: The "Scarlet Mini" from FATFreq is Basshead spirit incarnate.
Price
$629 (default cable) or $786 (upgraded silver-red cable)
Specifications:
Using proprietary dynamic woofers, bass chambers, and acoustic damping networks, FATfreq has tuned the Scarlet Mini to achieve the deepest and most elevated bass response ever recorded in an audiophile IEM at over 30 dB. It is also meticulously controlled below 200Hz with zero mid-range bleed. This innovation was pioneered and perfected for one singular focus: Sheer bass monstrosity.
FATfreq uses proprietary circuits inside the Scarlet Mini to correct the non-linear impedances of multi-driver systems. According to FATfreq, the different output impedances across all your devices cause frequency response to vary. This tech ensures consistency in frequency response for all our IEMs when plugged into any device—be it your PC front panel, phone audio jack, or dedicated DAP.
However, in reality, the source is a crucial factor for the Scarlet Mini to perform optimally, which I will shed light on later in this review. , FATfreq also uses exponential horn curvature for gain-control and to improve treble tonality via acoustics, drawing inspiration from a traditional French horn.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Build and comfort:
Scarlet Mini features super tiny earpieces, identical to the cheaper Maestro Mini, which costs roughly half. The earpieces feature a beautiful shade of red, “Scarlet,” to be precise, alongside gold accents featuring FATfreq's insignia. Thanks to the super tiny footprint and almost non-existent weight, comfort is exceptionally good.
The unboxing experience remains impressive, as always with all FATfreq IEMs. Scarlet Mini comes with a sizeable red pelican-style case, aptly named "FATBOX" by FATfreq themselves. The first thing that grabbed my attention upon opening the case was the big silica gel container box smack in the middle of the case. Rest are pretty standard affair. There was the IEM itself and the upgraded silver-red cable (which is optional; you can order the regular package with a simpler cable for a reduced quote). The tips FATfreq provides with this IEM are generic grey tips with red core. They are very comfortable, hypo-allergic, and work fine with Scarlet Mini. Thanks to its regular-sized nozzles, the Scarlet Mini is highly tip-roll friendly as well. The upgrade cable is modular and is a bit on the stiff side, though It is lightweight and does not tangle at all, so zero issues from a comfort standpoint. The upgrade cable also has screw-in shrouds covering the modular connection, which protects the cable from accidental detachment in case of sudden tugs or pulls.
Sound
"Measurement by Timmy Vangtan"
Scarlet Mini is bassy and brutally, unabashedly so. Its 30 dB sub-bass shelf is not something to scoff at. Interestingly, It remains strictly controlled just under the 200 Hz mark and does not cloud the lower Mids in any circumstances. The bass here is also more rumbly than punchy. It vibrates and rocks the back of your brain. The immediate, sharp punch is also pretty present, but the low rumble is the star of the show here. Midbass still has a commendable presence and authority, but the bass lift is skewed more towards the lowest registers; otherwise, there would have been bleeds into the lower midrange. This sort of bass presentation highly favors electronic music, R&B, hip-hop, or any bass-boosted modern music in general. Power by Kanye West is one of my benchmarks for sub-bass test. I am yet to find an IEM that can create that subwoofer in your head impression like the Scarlet Mini while playing this track.
Scarlet Mini is quite nicely extended in the air frequency range, just like the rest of the Maestro lineup, especially when amped properly. Without proper amplification, the leading edges of notes can become ultra smooth and non-offensive, so amplification is a crucial factor here. Scarlet Mini loves power, and giving it what it demands rewarded me with a sufficiently airy, sparkly top end. Dongles will not cut it, not even the flagship ones. I would suggest proper portable DAC Amps like the iFi Gryphon, Mojo 2, or CMA 18P for this IEM. There is no sibilance or harshness whatsoever. The treble is one of the most sophisticated or refined in this price category if properly amped.
Midrange has always been FATfreq's forte, and Scarlet Mini's midrange is actually on par with other kilo-buck midrange masters like the Sony IER M9 and FlipEars Aether. It is a vocal specialist, and I actually enjoyed Scarlet Mini's vocals more than neutral/near-neutral sets like the Bellos Audio X4 and Campfire Ponderosa. The overwhelming bass focus can take attention away from the marvelous mids at times; it is truly the unsung hero of Scarlet Mini's overall tuning.
Detail retrieval is decent for the price. With proper amplification, finer background nuances come alive to their full potential. Scarlet Mini has a resolution similar to other sub-$1000 sets. The soundstage is on the intimate side but never feels closed in or claustrophobic. Imaging and separation prowess are pretty decent; I faced zero issues playing multiplayer games with it. Footsteps and directional cues were easy to pinpoint. Dynamics are through the roof and is one of the key selling factors of this IEM. Ironically, metal and rock tracks also sound awesome with the Scarlet Mini alongside the usual suspects, AKA Hip-hop, trap music, and EDM, as I have already mentioned once. I thoroughly enjoyed Megadeth, Mastodon, and my Power Metal playlists with the Scarlet Mini. Thanks to the marvelous midrange and sparkly, airy top end, it is also quite enjoyable if you primarily listen to orchestral music, instrumentals, or smooth jazz. The bombastic bass adds a different flavor to these genres compared to more neutrally tuned IEMs.
Comparison
Campfire Audio Cascara and Ponderosa
The Cascara is also a bass monster, though the presentation is different. It has a more emphasized midbass and punches hard, while the Scarlet Mini is the rumble king. Cascara has a warmer treble response as well. Ponderosa is a more neutral and resolving set than both. It still has great bass, but not as much as the Cascara or the Scarlet Mini. Both Ponderosa and Cascara are more intimate-sounding.
FatFreq Grand Maestro
It's not a fair comparison, I know. I would compare the tuning profile only. The Grand Maestro, while still quite bassy, is more of a calm and collected individual rather than a rowdy rocker boy like the Scarlet Mini. The GM is a champion allrounder with a more u-shaped generalist tuning. The Scarlet Mini, on the other hand, is primarily a bass specialist.
Sony IER M9
M9 is a warm-neutral professional IEM aimed at musicians. It is also a fantabulous IEM for general listening as a bonus. M9 is the master of precision and timbre, yet Scarlet Mini's strength is M9's Achilles heel, as the M9 is noticeably rolled off in the low sub-region. I also feel the resolution level of M9 is beginning to show its age, as the Scarlet Mini can showcase more nuance when A/B ing.
FlipEars Aether
Aether is tuned very similarly to the M9 but with far superior bass and a lush, velvety midrange. While Aether is also a master of bass despite its all-BA underpinnings, it is not nearly as bassy and tactile as the Scarlet Mini. Aether is a specialist but in a different way, with a dedicated concentration on the midrange. Scarlet Mini is kind of reverse as it concentrates on bass while retaining a great midrange tonality.
Scarlet Mini is pretty versatile, though bass is its primary focus. The fantastic coherence and non-interference between frequencies make it a viable choice for a broad array of genres. It is a unique yet highly organic-sounding, collectible IEM that is a great addition to anyone's arsenal
Scarlet Mini is quite nicely extended in the air frequency range, just like the rest of the Maestro lineup, especially when amped properly. Without proper amplification, the leading edges of notes can become ultra smooth and non-offensive, so amplification is a crucial factor here. Scarlet Mini loves power, and giving it what it demands rewarded me with a sufficiently airy, sparkly top end. Dongles will not cut it, not even the flagship ones. I would suggest proper portable DAC Amps like the iFi Gryphon, Mojo 2, or CMA 18P for this IEM. There is no sibilance or harshness whatsoever. The treble is one of the most sophisticated or refined in this price category if properly amped.
Midrange has always been FATfreq's forte, and Scarlet Mini's midrange is actually on par with other kilo-buck midrange masters like the Sony IER M9 and FlipEars Aether. It is a vocal specialist, and I actually enjoyed Scarlet Mini's vocals more than neutral/near-neutral sets like the Bellos Audio X4 and Campfire Ponderosa. The overwhelming bass focus can take attention away from the marvelous mids at times; it is truly the unsung hero of Scarlet Mini's overall tuning.
Detail retrieval is decent for the price. With proper amplification, finer background nuances come alive to their full potential. Scarlet Mini has a resolution similar to other sub-$1000 sets. The soundstage is on the intimate side but never feels closed in or claustrophobic. Imaging and separation prowess are pretty decent; I faced zero issues playing multiplayer games with it. Footsteps and directional cues were easy to pinpoint. Dynamics are through the roof and is one of the key selling factors of this IEM. Ironically, metal and rock tracks also sound awesome with the Scarlet Mini alongside the usual suspects, AKA Hip-hop, trap music, and EDM, as I have already mentioned once. I thoroughly enjoyed Megadeth, Mastodon, and my Power Metal playlists with the Scarlet Mini. Thanks to the marvelous midrange and sparkly, airy top end, it is also quite enjoyable if you primarily listen to orchestral music, instrumentals, or smooth jazz. The bombastic bass adds a different flavor to these genres compared to more neutrally tuned IEMs.
Comparison
Campfire Audio Cascara and Ponderosa
The Cascara is also a bass monster, though the presentation is different. It has a more emphasized midbass and punches hard, while the Scarlet Mini is the rumble king. Cascara has a warmer treble response as well. Ponderosa is a more neutral and resolving set than both. It still has great bass, but not as much as the Cascara or the Scarlet Mini. Both Ponderosa and Cascara are more intimate-sounding.
FatFreq Grand Maestro
It's not a fair comparison, I know. I would compare the tuning profile only. The Grand Maestro, while still quite bassy, is more of a calm and collected individual rather than a rowdy rocker boy like the Scarlet Mini. The GM is a champion allrounder with a more u-shaped generalist tuning. The Scarlet Mini, on the other hand, is primarily a bass specialist.
Sony IER M9
M9 is a warm-neutral professional IEM aimed at musicians. It is also a fantabulous IEM for general listening as a bonus. M9 is the master of precision and timbre, yet Scarlet Mini's strength is M9's Achilles heel, as the M9 is noticeably rolled off in the low sub-region. I also feel the resolution level of M9 is beginning to show its age, as the Scarlet Mini can showcase more nuance when A/B ing.
FlipEars Aether
Aether is tuned very similarly to the M9 but with far superior bass and a lush, velvety midrange. While Aether is also a master of bass despite its all-BA underpinnings, it is not nearly as bassy and tactile as the Scarlet Mini. Aether is a specialist but in a different way, with a dedicated concentration on the midrange. Scarlet Mini is kind of reverse as it concentrates on bass while retaining a great midrange tonality.
Scarlet Mini is pretty versatile, though bass is its primary focus. The fantastic coherence and non-interference between frequencies make it a viable choice for a broad array of genres. It is a unique yet highly organic-sounding, collectible IEM that is a great addition to anyone's arsenal
Last edited:
Besides IEMs, Aroma is also a powerhouse when it comes to electronics. I also own the AIR Bluetooth DAC Amp, which is a unique yet fantastic-sounding Bluetooth-only device. The A100TB portable amp is the successor to the original A100 and competes directly with the Astell and Kern PA10 price-wise. Though not in the same price range, I will compare it to the Ibasso PB5, Cayin C9, and Brise Audio Tsuranagi in this review because the A100TB is that good!
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$772
Specifications:
SNR: 120dB at 800mW, 100Ω, 1kHz
Power Output:
320mW at 16Ω (rated power)
530mW at 32Ω
860mW at 100Ω
310mW at 300Ω
160mW at 600Ω
The A100TB features a symmetrical and fully balanced amplifier circuit with four channels. The power supply circuitry has been revamped compared to the original A100. It includes a high-current, ultra-low-noise constant voltage filter circuit, resulting in a ripple voltage as low as 20uV. The main filter energy storage capacity has been expanded to 6800uF, providing robust power to each unit. Like the original A100 and Aroma Audio Air, the A100TB supports opamp swapping, allowing users to tinker with the sound signature and settle on a tuning to their own liking (sounds already perfect for me with the stock opamps, but some users have found further improvements with Burson V5i-D). Aroma Audio engineers also used Vishay precision wafer resistances in the audio circuit units. The PCB also benefits from immersion gold processing, according to Aroma.
Aroma A100TB exclusively supports 4.4mm balanced input/output connections. Like the iBasso Osprey PB5, a balanced source with 4.4mm output is mandatory to stack with this unit.
Build quality and design:
The A100TB comes in a rather spartan-looking packaging. Opening the simple black packaging box reveals the amp alongside the manual. A100TB is an ergonomically shaped amp that fits right into the palm. It is a sleek, stealthy, fully metal black box with meticulous finishing from top to bottom. I have zero qualms regarding the quality of the build, it is absolutely flawless. A100TB features a chrome-finished volume pot on the front, which is velvety smooth with the perfect amount of resistance. Both the input and the output jack are placed on the front as well, on either side of the volume pot. A small button and four LED lights placed on one of the side walls briefly light up when that button is pressed and indicate the remaining battery life. The on-off toggle switch is on the rear, alongside a dedicated port for the optional PSU and a type C port for charging the device.
You can use the A100TB with power from its internal battery or plug it into the dedicated PSU (Aroma Power Station 100, which can be bought separately for $350). Using a USB-C wire with a 5V/2A plug, this amp takes about 4 hours to charge fully from zero to 100 percent. The battery lasts around 7-8 hours, depending on volume level, which is well above average for a portable amp of this stature. The protected 26650 cylindrical battery cell is easy to remove and replace, which is great for consumers as battery lifespan will inevitably lessen with repeated charge cycles. You can buy good replacements later from brands like Orbtronic, Nitecore or XTAR once the battery gives in after a few years of use. A100TB's top lid can be opened without tools via a rather smart, hassle-free sliding mechanism. Sliding open the lid reveals the gorgeously laid-out internals, which are among the most beautiful I have seen. The stock OPA1612 opamps can be easily swapped using the tweezers provided in the packaging.
Sound
The A100TB is not just a simple, straightforward black box that makes your DAP's weaker power output louder. No, it does far beyond than that. First of all, there is no radical change in the base sound signature from the source device. It does not add its super obvious own flavor like the Cayin C9, iBasso Osprey DP5, or the Mass Kobo 475. The sound signature remains relatively faithful to the source.
The true magic of the A100TB lies in its subtlety. It does not magically add new details but makes micro-contrasts more apparent thanks to its stunningly black background. It is more like a focused experience akin to music being dissected in a petri dish. There is also a significant improvement in dynamics and staging. Images become larger, more transparent, and easier to distinguish from each other.
A100TB significantly enhances the bass response. Bass sounds tighter, denser, and more authoritative, bolstered by a more natural bass decay than the stock output. Surprisingly, it works not only with bass light IEMs but also with bass cannons because the change here is not merely a lazy bass shelf increase or a couple of dB of boost. It is more like a “re-shaping” of the bass if that makes sense.
With A100 TB, the midrange and treble also go through this “re-shaping” effect. The treble becomes noticeably sweeter and has a very polished vibe compared to the stock output. Craft Ears Omnium is an IEM I would not necessarily call “overdone” or too focused in the treble. Pairing it with the A100TB took its treble response to a whole different level of refinement. Omnium is not an exclusively bass-focused set, either. However, the A100TB makes the bass come alive and puts more focus on it while the overall sound signature still remains distinctively Omnium’s.
Another case of incredible synergy with the A100TB is Aroma Audio's very own Jewel. Jewel is a highly versatile set that responds greatly to different cables, tips, and sources, making it a highly rewarding set for tinkerers. Pairing the Jewel powered by Flash Acoustics cable with the A100TB was a next-level experience for me. The improvement in bass layering and punch and just the overall texture and richness of the sound was breathtaking to say the least. I also tried it briefly with my beloved FlipEars Aether and DITA Project M. I could not believe these $700 and $325 IEMs could scale this much with the A100TB!
The A100 TB enhances the sound of high-end/mid-fi sources like the Sony WM1ZM2 or Questyle CMA18P, and even dongles and inexpensive portable DAC Amps. I was pretty amazed after pairing the CMA18 Portable with the A100TB. The CMA18P has an audibly noisy 4.4mm output, which I initially suspected would be more accentuated in the A100TB. To my utter surprise, the A100TB’s output was as clean as possible. I was also rather impressed pairing it with the dirt-cheap Fosi Audio SK02, although it falls into the bottleneck territory at this point. The key point here is that the A100TB does not require carefully sorted pairings for maximum synergy. It is ubiquitously good when paired with most sources.
A100TB was created primarily with IEMs in mind, though it can drive easy to moderately hard-to-drive full-sized headphones like the Arya Organic, Sony MDR MV1, or similar (ZMF headphones, Meze Empyrean 2, and Focal Utopia 2022, for example) with relative ease. I would suggest sticking to beefy big-boy amplifiers for older, non-stealth Hifimans, Abyss and DCA headphones, or Modhouse Tungsten.
Comparisons:
Brise Audio Tsuranagi:
Brise Audio is primarily an ultra-premium cable and interconnects manufacturer from Japan. Tsuranagi is an amp they initially developed in-house for equipment testing, which was later released for regular consumers due to popular demand. Tsuranagi is a highly transparent amp that does not affect the bass nor sweeten the treble as much as the A100TB. It acts more like how a traditional amplifier would work. The increase in staging and background blackness is slightly superior on the Tsuranagi, but it also costs several times more than the A100TB
iBasso Osprey DP5:
The DP5 is a portable tube amplifier from iBasso. It is not a pure tube amp per se, as Korg 6P1 nutubes are used instead of regular ones. The DP5 is extraordinarily transparent and neutral, with a noticeable increase in the sub-bass shelf. A100TB, on the other hand, sounds meatier and dense and is not as lifted in the sub-bass region. The detail level on both Amps is about the same, which is quite impressive, as the DP5 costs twice as much as the A100TB.
Mass Kobo 475:
A boutique creation from Japan, the Mass Kobo 475 drastically alters the base sound signature. It is way more saturated and spicier than stock output, which works wonders with some IEMs, but vice versa can happen, too. A100TB is like a subtle gentleman, while the 475 is a drug-addled rockstar. The 475 has a DIY, somewhat crude, handmade vibe to its overall fit and finish, while the A100TB is visual and structural perfection.
Astell and Kern PA10:
PA10 is priced similarly to the A100TB. Sonic prowess-wise, I think it is a couple of notches below the A100TB. PA10 can provide more juice to full-sized cans, which is an advantage. The A100TB is more suited for comparatively easy-to-drive headphones (which are 95 percent of headphones nowadays, anyway). PA10 is not a bad product on its own, it is great in fact. But the A100TB is just unfairly good for $772
Cayin C9:
C9 might have had its days in the sun, but the A100TB is plain better for a lot less money, in my opinion. The only advantage C9 has over the A100TB is the massive 2.6 Watts of power. It can drive some stubborn headphones, sure, but for exclusive IEM use, A100TB is a no-brainer.
Last edited:
BonGoBiLai
I no longer have the Navigator with me, but I suspect that combo will sound awesome, too. Navigator is the best dongle DAC right now, period.
Aurora XXIV is Flipears' current flagship and a successor to the first generation Aurora, offered in both a custom and a universal version. Additionally, if you're looking for something even more luxurious, a 24k Gold-plated version of the Aurora XXIV is available. It features silver shells adorned with Moissanite Diamonds, making it a true collector's item. As always, I will cover the universal version in this review.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. This unit was bought by Mr. Sajid Amit with his own money. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$2099
Specifications:
2 EST + 6 BA + 2 SoniXwoofers DD
(Ten-driver, Tribrid Configuration)
2 EST - 2 Ultra High
6 BA - 2 Low-Mid, 2 Mid, 2 Mid-High
2 10mm SoniXwoofers - Sub-Bass
Sensitivity: 108db @ 1mW
Impedance: 26 ohms @ 1khz
Frequency Response: 5hz - 70khz
Aurora XXIV is a tribrid that replaces the "Firewoofer" bass drivers from the first-gen Aurora with the 10 mm "SoniXwoofer" dynamic drivers. It retains FlipEar's iconic conical-shaped nozzle, which they aptly named "Conoid Resonating Chamber." According to Flipear's engineers, this nozzle specifically increases high-frequency extension. As a byproduct, it also makes FlipEar IEMs extremely comfortable for hour long listening sessions.
Accessories, Build, Comfort:
It is a Flipears IEM, so of course, The Aurora XXIV is stunning to behold, just like every other Flipears IEM. It somewhat resembles Artha's teal-green color scheme, yet the color scheme and pattern are distinctly different. The accessorization remains impressive, as always. The Aurora XXIV comes in a fresh, all-leather packaging with a built-in LCD display. The LCD display is kind of overkill, but it is a novel extra nonetheless.
Inside, you'll find the IEMs themselves, a leather carrying case, a microfiber cleaning cloth, six pairs of silicone ear tips (with an organizer), cable adapters, cable organizers, and stickers. The stock cable FlipEars provides with the Aurora XXIV is exceptionally high quality, especially for a stock cable. Moreover, Flipears provides Eletech Baroque tips as extras with the Aurora, which are by far the most comfortable ear tips available in the market and are pretty expensive if bought separately.
Build quality is as solid as resin IEMs get. Interestingly, unlike the Aether and Artha, there are no tuning switches this time. Comfort is excellent despite a noticeable increase in size compared to the Artha. Aurora XXIV's nozzle is quite fat, yet there is no irritation, discomfort, or ear pressure buildup. A few ear-tip options that I'd suggest you can tinker with are Azla Sednaearfit, Baroque, or JVC Spiral Dots ++. I am a big fan of the stock wide-bore FlipEars tips by the way. I am not sure if they are sold separately but they are among the most comfortable, hypoallergic tips I have come across.
Sound:
Aurora XXIV is a bass canon with an incredibly linear and smooth sound profile. It retains FlipEar’s beautiful house sound that focuses mainly on midrange timbre, backed up by solid bass response and decent treble extension. FlipEars have already proved their bass prowess with two pure BA IEMs (Aether and Artha). This time, however, the Aurora XXIV's bass is powered by two 10mm DD housed in FlipEar’s in-house developed SoniXwoofer isobaric chamber. Bass response now trades blows with the likes of FiR Audio XE6 and EE Legend Evo, but without the clouding effect those IEMs sometimes have over the rest of the frequencies. The bass, like the XE6, is a bit thick, and midbass tilted, so certain bass instruments, like kick drums, sound thicker than they should in reality. Fool in the Rain by Led Zeppelin is one of the few tracks where the drums sound a bit too full. This, on the other hand, makes rap, R&B, and hip-hop stuff thoroughly enjoyable.
Aurora XXIV’s midrange is marvelous and superbly organic; I would say even more organic than the Craft Ears Omnium, which is priced similarly ($2500). Omnium’s midrange is comparatively cleaner and less thick. I would not necessarily brand any of them as superior to another; they are just very different in presentation. Vocals come across as lush and sweet without a single hint of harshness or shout. Aurora XXIV's midrange is basically HD 650 /ZMF Atrium's midrange in an in-ear form factor.
The treble is well extended and airy but tuned to be very safe. Generally, on basshead pairs, the overt focus on the low end can sometimes take attention away from the treble. That being said, I never found the Aurora XXIV dark or muddy even though my daily driver is the Arya Organic, a headphone known for its sumptuous treble. Aurora is especially airy when coupled with the Sony WM1ZM2 and iBasso DP5 stack. It also showcased beautiful treble synergy with the relatively cheaper Questyle CMA 18P. For treble-sensitive folks, harsh treble to be precise, Aurora XXIV is a godsend.
Aurora XXIV is highly technically competent and comfortably keeps up with the likes of FATFreq Grand Maestro, Tia Trio, 64Audio Volur, and Craft Ears Omnium. Artha was already a technical marvel at $1700. Aurora XXIV faithfully continues that trend. This time, the soundstage is slightly more intimate compared to Artha’s expansive staging capabilities. It is still highly competent and holographic for a $2099 set and can stage extremely wide when the track calls for it. Imaging performance is spot on; no room for complaints here. I did some casual and online battle royale gaming with the Aurora XXIV and the directional accuracy was masterclass.
Detail retrieval is as good as any sub $4000 ToTL IEM. After a certain price threshold, detail does not matter as much, in my opinion (unless it is a rip-off, which there are a few), as everything is sufficiently resolving at that stage. I am more interested in how effortlessly that detail is presented, and Aurora does a bang-on job doing that. It is very easy to listen to and get immersed in. I found myself skipping tracks way less than usual when listening to the Aurora XXIV.
Comparison:
64Audio Volur:
Volur can also be considered a basshead IEM, though it lacks the tightness and impact of Aurora XXIV. Volur presents bass in a very diffused, softened manner, which takes the edge off some bass instruments. It is also very intense in the upper treble, thereby causing fatigue in long listening sessions. Aurora XXIV (and every single FlipEars IEM, in fact) are highly extended in the upper treble but zero trace of artificial sheen can be perceived which is a grand testament to their tuning prowess. Aurora XXIV is far superior in the midrange than the Volur, or any 64Audio IEM for that matter.
Craft Ears Omnium:
Omnium is priced very close to Aurora and is more neutral/drier sounding overall. It also provides a highly non-offensive listening experience, though it is not as rounded as the Aurora XXIV and is highly source-sensitive. Aurora, on the other hand, sounds great with mid-fi devices and scales even greatly with higher-end sources. Omnium’s bass is also not as prominent and rumbly as Aurora's. Treble and midrange performance are about equal, though the presentation is vastly different.
DITA Perpetua:
Perpetua is known for its large soundstage and organic bass response, though the bass does not hit nearly as hard as the Aurora XXIV. Detail retrieval is also a few notches below. Midrange performance is about equal, though I prefer the Aurora's midrange a bit more. Vocals sound richer and sweeter in the Aurora than in the Perpetua. Perpetua has some mid-treble energy, which can be harsh on rare occasions, while the Aurora XXIV is always buttery smooth yet crystal clear throughout the treble frequency brand.
Fir Audio XE6:
XE6 is even bassier than Aurora and has a very midbassy, raw, sometimes overwhelmingly so presentation, which often clouds the rest of the frequencies. XE6 is a fun set but it is significantly more colored than Aurora and is a genre specialist. Aurora, on the other hand, is hyper-balanced despite its bass focus and does not underperform in any particular genre.
FATfreq Grand Maestro:
The GM is more sub-bass-focused and is much harder to drive. Grand Maestro often does not come across as that bassy as some tracks do not have much subbass information to begin with. Aurora's bass is thicker, more voluminous, and significantly more present. You are aware of its bass awesomeness all the time, not just when the track calls for it. Grand Maestro's midrange is comparatively thinner (but not thin per se) while the Aurora sports a euphoric, lush midrange. It is also significantly brighter than the Aurora XXIV. Both are bulbous in shape and on the larger side, but the Aurora XXIV is comparatively much more comfortable and isolates way better.
Last edited:
BRH0
Man…looks like I gotta pick the Aurora now…thanks! Haha
Craft Ears is a very young Polish boutique brand founded in 2019 by Mr. Jędrzej, also known to his friends and family as Jed. Alongside his passion and lifelong for achieving the pinnacle of sound quality, the founder is also drummer, music composer, and producer. Like most prominent boutiques, Craft Ears already has a successful track record of making custom IEMs for musicians in Europe. The brand truly rose to fame in the the audiophile consumer sphere after releasing of the Aurum, a magnificent tribrid priced at $1384. They also offer the relatively affordable Argentum ($735) and “The One” ($845). Omnium is the current Craft Ears flagship, which has already garnered much praise from the summit fi community lately. Amplify decided to buy one to see what the fuss is about, and I must say, these positive statements are not honeymoon phase hyperbole.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price
$/EUR 2499
Specifications
Omnium features a seven-driver tribrid configuration. A 9.2mm LST dynamic driver handles the bass, and a 10 mm planar driver handles the midrange. Five balanced armatures (one for high mid, two for treble, and three for upper treble) handle the high mids and upper frequencies.
According to Craft Ears, The Omnium utilizes a tubeless design with custom-tuned acoustic chambers and resonators. Combined with their innovative SES 3.0 (Space Expanse System) and True Load (Flat Impedance) technology, this guarantees a wide soundstage and consistent performance across different devices. These sound like a mouthful, but they work perfectly as described which I will discuss in detail in the sound review.
Build quality, accessories, and comfort:
Omnium looks and feels exotic from the get-go. The faceplate is made of carbon fiber (not a fake texture, but actual carbon fiber), with a gold-plated Craft Ears logo and a gold-plated edge lining surrounding it. The rest of the earpieces are made of 3D-printed resin, which is finished so well that I initially mistook it for ceramic (ceramic would make the earpieces too heavy, so that makes sense). Build quality and aesthetics-wise, I have nothing but high praise for the Craft Ears Omnium.
The outer package might look small for a ToTL set and somewhat spartan, but the color scheme and font placements are tastefully done and exude quality. The accessory package seems sparse at first glance, but every single one of them is functional. Craft Ears provides a heavy-duty pelican-style hard case, which is the perfect size for the IEMs, in my opinion, neither too small nor overly large. A generous selection of ear tips is provided in a Craft Ears printed small plastic box. The modular stock cable that comes with the packaging is of fairly decent quality and ergonomics, though you can always switch to better cables.
Unlike many of its flagship IEM counterparts, the nozzle is not overly thick, making experimenting with different sets of tips a breeze. Though the earpieces are slightly large and hefty, I had zero issues regarding comfort thanks to the overall flatter profile and ergonomic contours. The nozzle is angled aggressively and burrows deep into
the ear canal. It might take a few days to adjust for folks accustomed to shallower fit. Isolation was fantabulous for me, thanks to the deep fit and seal I got with the stock dual flange tips. Fortunately, there is no ear pressure build-up or driver flex.
Sound
The Omnium is one of those rare IEMs that immediately makes you blurt out, “Whoa, it sounds great!”. No steep learning curve, wow factor, or acquired taste is involved. That is how effortlessly pleasant and natural this IEM is from the get-go. Its timbre somewhat reminds me of the fantastic DITA Perpetua and Aroma Audio Jewel in many ways.
"FR Measurement by @aaf evo"
Tonally speaking, I would describe the Omnium as a mildly V-shaped, hyper-balanced set without any focused emphasis on a particular frequency. The bass is present and textured, with a nice balance between the sub-bass and the midbass frequencies How solid and prominent this bass would perform is greatly source sensitive though. The bass was incredibly dense, tactile and enveloping when paired with the Sony WM1ZM2 + Aroma Audio A100TB while with the iBasso Osprey PB5 portable amp it was more subtle and sub-bass focused. With the Questyle CMA 18P the bass response was somewhat similar to the PB5 but with a bit more midbass tilt. Determining what source you would pair this IEM with for the optimal bass is crucial. I thoroughly enjoyed the Aroma A100TB combo for hip-hop and aggressive tracks. What's Ya Phone Number? by 2Pac and Skin of my teeth by Megadeth are two great examples. For slow-paced tracks and orchestral music, I preferred the PB5 pairing slightly more.
The midrange is easily my favorite aspect of Omnium. It is precisely how I envision a proper midrange rendition: neither too dense nor too glassy, with extreme precision and background nuances that pop effortlessly. The midrange here strikes the perfect balance between clarity and heft. The vocals are pure bliss to listen to, be it the thick, manly voice of Johnny Cash, the distinctive falsetto-fueled voice of Supertramp's Roger Hodgson, or the high-pitched, angelic voice of Joni Mitchell. Omnium’s midrange is clearly on par with the midrange of Aroma Audio Jewel and DITA Perpetua, if not better.
Omnium is not a treble-head set per se, but I find it sufficiently airy without any hint of sibilance of grain. It has a very rounded, safe treble rendition that makes even inferior recordings tolerable while retaining all the information. Under $3000, Flipears Aurora XXIV is the only IEM that I can think of that does this. Like the bass response, Omnium's treble is also tied to what source you are going to pair it with. I was astounded by the level of transparency and air in the treble region, which had zero trace of unruly zing. The FATfreq Grand Maestro also does a similar thing with the treble and actually pushes even more air, though I find the slightly richer vibe of the Omnium more suited to my taste.
Omnium is a spectacularly technical and coherent IEM despite its non-offensive approach. Thanks to its pitch-back background and extreme micro-contrast and detail retrieval capabilities, I can pick apart small background nuances from each instrument without putting in extra effort. The soundstage is more expansive than average and very three-dimensional, simultaneously; it images with pin-point accuracy as expected from a brand with pro audio pedigree. The Omnium has a very accurate studio monitor 'esque approach in terms of positioning. Voices and instrumental notes that are supposed to sound intimate sound intimate, and vice versa. It sort of reminds me of the Hifiman Arya Organic in this regard.
Another thing I love about the Omnium is its equal excellence across genres and applications. Its safe but not overly so approach makes it a perfect IEM for gaming, movies, and intense audiophile listening sessions.
Comparisons:
64audio Volur:
The Volur is also a quite organic sounding by 64audio standards. It has more bass, but it is not the type of bass I vibe with. It's relatively softer and more diffused for my liking. A bit more tactility was what I was missing dearly when listening to the Volur. Volur is also way more intense and forward in the upper treble, though not sibilant, potentially causing fatigue in long listening sessions. I do like the Volur on its own, but for the same price, Omnium is a clearly superior set.
DITA Perpetua:
Perpetua is the best single DD IEM to date and the emperor of timbre and soundstage. That being said, Omnium’s timbre is almost equally as good. It's markedly more technical, way more technical, in fact, while the Perpetua is more of a $1500-2000-level IEM in terms of sheer resolution. Perpetua has a more natural and realistic bass decay. Midrange timbre and transparency are about equal on both. Perpetua is a very unique IEM that is really in a niche of its own. A great compliment to the Omnium, in my opinion.
Flipears Aurora XXIV:
Aurora is a bass canon compared to the Omnium. It is smoother-sounding and has a lush, warm sound signature, while the Omnium sounds more forward and crystalline in comparison. Technical performance-wise, they are equals. Aurora has more of a ZMF Atrium type of presentation, while the Omnium is more along the lines of ZMF Caldera, if that analogy makes any sense. Omnium has a blacker background, and subtle undertones are easier to discern on it than the Aurora.
Fir Audio XE6:
XE6 is a heavily colored set that requires acquired taste to appreciate. I personally find it awesome and insanely fun. XE6 has wild, untamed bass with a strong midbass focus, while Omnium's bass is more civilized and subtle. Thanks to its heavily colored tuning, XE6 is also more genre-specific. XE6 is a great addition to a collection of ToTL IEMs, but if you have the budget or willingness to keep only one, then Omnium will be my suggestion.
FATfreq Grand Maestro:
Grand Maestro is another fantastic all-rounder that I dubbed as a "Maestro of All Trades" in a separate review. Maestro is more U-shaped than the Omnium, with a higher bass shelf and a more lifted air frequency range. Omnium sounds comparatively richer and weightier, especially in the midrange. The level of transparency and resolution is about equal on both. Grand Maestro has a slightly larger soundscape than the Omnium, which is comparatively more intimate.
Craft Ears Omnium is a true master of all trades in a ToTL crowd filled with specialist sets. A no-brainer if you want only one ToTL IEM that performs at its peak in every genre. Omnium highly rewards different sources and cable combinations as well which is a big plus in my book. It is an IEM that genuinely does justice to its “Omnium” moniker.
Attachments
Last edited:
aaf evo
Great review! I am a huge fan of the Omnium and opted to buy them as a CIEM for myself after owning them in universal. However, if you are going to use my measurements for your content I would appreciate being credited for them.
BonGoBiLai
@aaf evo many thanks. Sorry my bad, I have edited the review and credited your measurement 
Bellos Audio is a new venture/ spin-off from the founders of Fir Audio, Mr. Vlad and Bogdan Belonozhko. The Belonozhko brothers are two of the most ingenious innovators in the IEM world currently. They were the visionaries when they were part of the original 64Audio founder team. With Fir Audio, they came up with revolutionary tech like Kinetic bass, among many others, which gives the term “Subwoofer in your head” actual meaning.
Bellos Audio’s offerings are relatively affordable compared to Fir Audio’s regular offerings. The X2 retails for $499, the X3 retails for $799, and the current Bellos flagship, X4, retails for $999. The Bellos X4, specifically, has garnered much attention lately in IEM enthusiast threads and received ubiquitous praise.
But there is a catch. Most people have experience with the Bellos X4 Custom version or CIEM. But the one I have in my hand is the universal version, not the custom one. This review will, therefore, highlight the slightly lesser-known Bellos X4 universal version.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$999
Specification:
Bellos Audio’s offerings are relatively affordable compared to Fir Audio’s regular offerings. The X2 retails for $499, the X3 retails for $799, and the current Bellos flagship, X4, retails for $999. The Bellos X4, specifically, has garnered much attention lately in IEM enthusiast threads and received ubiquitous praise.
But there is a catch. Most people have experience with the Bellos X4 Custom version or CIEM. But the one I have in my hand is the universal version, not the custom one. This review will, therefore, highlight the slightly lesser-known Bellos X4 universal version.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Price:
$999
Specification:
- 2 Balanced Armature Drivers for Low/Mids and Highs.1 6mm Dynamic Driver for Sub Lows.1 Balanced Armature Driver for Ultra-highs.Frequency Response: 20Hz – 20kHzImpedance: 16Ω at 1kHzSensitivity: 116 dB/mWCrossover: Integrated 4-Way Crossover
Unboxing, build, and comfort
The unboxing experience is actually quite minimalistic and straightforward. Bellos X4 arrives in a simple white packaging, inside which is a heavy, hockey puck-style case milled entirely from solid metal, some OEM tips (foams and hypoallergenic latex tips), a cleaning tool, and the IEMs themselves. The case is very heavy and offers good protection. It is a screw-on lid type case, so closing it perfectly might take some time for people accustomed to magnetic/zipper-style cases.
The earpieces are made from a matte-finished polymer material with a Butterfly resembling insignia on the faceplates that feel great to touch and hold. It reminds me of soft-touch plastic used in high-end electronics and luxury car interiors. Bellos X4 offers fantastic comfort, especially when paired with the right ear tips. According to Bellos Audio, the earpieces are completely 3D printed while retaining nanometer precision. The matte finish is employed later, and the primary logic behind this coating is to ensure a constant, grippy seal. While a grippy seal is essential for custom IEMs, this also vastly improves the ergonomics of the universal version as a much-welcome byproduct.
The stock cable is functional and malleable. Although it could have been of higher quality, it is perfectly okay for day-to-day use.
Sound:
Firstly, a small disclaimer: the Bellos X4 universal will sound different from the custom version, and I do not have firsthand experience with what the universal version sounds like. Therefore my experience with the universal version will not align one hundred percent with owners who got the custom version. This is true for all custom vs. universal scenarios, as we must consider factors like unique ear canal resonances and insertion depth varying from person to person while dealing with universal IEMs.
Tonality-wise, the universal X4 variant is a warm neutral IEM with some treble emphasis. Though I am not an artist or music producer, warm-neutral profiles seem to be standard for studio-related applications. Bellos Audio has implemented a plethora of new techs in this IEM. The In-Air-Canals technology is exclusive to the custom version only, and sadly, the universal variant does not benefit much from it. The proprietary RCX cable is another CIEM-only neat feature that boasts a certified 5000 detachments and re-attachments rating. The universal version comes with standard two-pin connectors. Bellos also employs the fabulous Atom venting technology tricked down from Fir Audio IEMs. Atom venting alleviates annoying air pressure build-up while simultaneously retaining the perfect seal. The CIEM version also features modular drivers, making driver replacement much more accessible for average users.
The bass is definitely the highlight for me on the Bellos X4. It has this quintessential good DD driver bass with some minor reminiscence of the incredible Fir Audio XE6, though not quite at the same level. It is not exclusively skewed towards the sub-bass but has a nice, even transition from mid-bass to the sub-bass region. A few sub $1000 IEMs have more bass quantity. Campfire Audio Cascara, for example, has more quantity, but I like the bass region's overall balance and natural decay on the Bellos X4. “Seven Nation Army” is a favorite track of mine which really pops with some proper bass decay. And the Bellos X4 universal does a swell job doing so.
The midrange is also quite lovely. It is a bit thick and warm-tilted rather than razor-sharp and crystalline, though it does not sacrifice clarity. The midrange resembles some of its Fir Audio cousins, especially the Fir E12’s midrange sounds very similar to the Bellos X4’s midrange. Guitars and vocals have brilliant heft and nuance. I think the Bellos X4 would generally satisfy mid-heads and considerably so.
I decided to do some tip rolling to see its effect on Bellos X4's treble region. I experimented with a few different tips alongside the stock foam and silicone ones. The Bellos X4 universal is quite spicy in the lower treble, accentuating cymbal crashes and percussions to be more energetic. I found my sweet spot with the Pentaconn Coreir brass and Final E type alongside the stock ear tips. Achieving a deep seal is crucial for the universal X4 variant. It will ensure a treble response closer to the CIEM version. The XE6 generally performs well with soft and sticky aftermarket ear tips, from my observation. Divinus velvet oddly took away some bass energy from the mix as I was having a hard time with the non-sticky, sandy texture of these tips. Tip rolling, in general, is a rewarding experience with the Bellos X4.
The Bellos X4 is a masterclass in imaging performance, and I think not many IEMs would really match its imaging prowess under $1000. The soundstage is perfectly decent for the price. Fir's higher-end ToTLs stages even better, but the X4 universal showcases a respectable staging prowess nonetheless. I found the soundstage height and depth of the Bellos X4 more impressive than the width. Detail retrieval is also very decent and comparable to similarly priced sets.
Drivability:
The Bellos X4 is extremely easy to drive and does not require a lot of juice or kick. However, being a sensitive IEM makes it susceptible to higher noise floors from non-quiet sources. Pairing it up with whisper-quiet sources like the Sony WM1ZM2 or the Aroma Audio A100TB provides the best synergy for this particular IEM.
Comparison:
FATfreq Scarlet Mini:
Scarlet Mini is a heavily colored set sporting a whooping 30dB sub-bass shelf. It is significantly bassier and mellower than the Bellos X4. Interestingly, the Scarlet Mini has a leaner midrange, which is less warm than the Bellos X4. The X4 universal sounds more balanced in its presentation thanks to a more "normal" sounding bass response. Scarlet Mini is significantly more subdued in the treble region than the X4.
Sony IER M9:
M9 is another "professional" IEM targeted towards musicians. It is kind of a legend on its own for its supreme timbre and imaging prowess. While the M9 BA Bass is commendable and very "dynamic" like, the sub-bass roll-off is quite apparent when A/B ing with the Bellos X4. The M9 is completely sealed; thus, air pressure build-up can become annoying. X4 has even more impressive imaging prowess, better detail retrieval, and a far superior bass response.
Campfire Audio Ponderosa:
Ponderosa is a newer all-BA offering from Campfire Audio. It is a part of their Chromatic series alongside the Campfire Cascara and Supermoon. The Ponderosa has a commendable, almost dynamic driver-like bass response, but it is still clearly BA Bass. It is also intimate, warm, and comparatively more subdued in the treble. Detail retrieval is about equal on both.
Symphonium Helios:
The Helios is an anomaly, given its technical prowess for a shockingly low price point. It is leaner and significantly more anemic-sounding than the Bellos X4 Universal. Helios is more refined in the treble, though the low end is a bit too sub-bass tilted for my taste and still has some "BA bass" limitations. Helios is also much harder to drive and requires higher-end sources for maximum performance.
Although the Bellos team's unique innovations might be mostly CIEM-focused, the universal variant still provides an excellent warm-neutral sound profile, fantastic dynamic driver bass, and commendable technical performance. I give the X4 universal an optimistic thumbs-up.
Last edited:
BonGoBiLai
100+ Head-Fier
Maestro of All Trades Pros: 1. Extremely balanced and coherent from top to bottom
2. Sublime bass performance
3. Clean and realistic midrange
4. ToTL treble performance, absolute clarity devoid of any fatigue
5. Technical powerhouse
6. Four unique tuning profiles achievable via vocal switch and NOAH modules
7. Grandiose unboxing experienceCons: 1. Earpieces are on the larger side
2. Not particularly a con, but very hard to drive than average IEMsGrand Maestro is the current flagship offered by the young Singaporean boutique FATfreq, founded in 2016. FATfreq is currently one of the foremost pioneers in innovation in the IEM scene from the SEA region, specifically Singapore. The founders regularly collaborate with Symphonium, Nightjar Acoustics and Subtonic, all three being excellent and highly competent manufacturers on their own.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Grand Maestro stands at the pinnacle of their "Maestro" Lineup of IEMs. The Maestro series generally boasts slightly V-shaped basshead sound signatures but with clarity and air intact. FATfreq has a few more fan favorites from this lineup, like the $415 Maestro Mini and $699 Scarlet Mini.
The Grand Maestro is a proper flagship that costs a staggering $3334 for the complete package. That is ToTL territory, and Grand Maestro must stand out and carve out a piece in a battleground filled with Titans. And it does so with flying colors.
Price:
$3334 with premium gold plated silver cable and additional blue NOAH modules
$2871 with stock cable and stock black NOAH modules
The black modules provide a more elevated low end, while the blue module provides a slightly less elevated low end and more air frequency boost than the stock black module.
Specifications:
- Tribrid setup1 DD (bass) + 8 BA (midrange) + 4 EST (treble)Stealthily placed vocal toggle switchesTwo different types of NOAH modules (Complete packaging)Four different sound profiles are achievable via NOAH modules and vocal switches.
Build, comfort, unboxing experience:
The unboxing experience Grand Maestro provides is among the most grandiose I have seen. A few other IEMs that go such extravagant routes are the DITA Perpetua, Sony IER Z1R, and some Noble IEMs. I understand that the unboxing experience does not affect the sound quality and is only superficial to many people. That being said, an extravagant unboxing experience is also a testament to a manufacturer's pride and confidence in their product.
Removing the Grand Maestro's blue outer cardboard shell reveals the exquisitely polished large wooden box, which again reveals a gorgeous golden metal hockey puck-style case, some regular grey OEM tips, and a set of large bore tips, which I suspect are "Tri Clarions." The gold-plated modular upgrade cable feels high-end. The modules also feature a screw-in shroud mechanism which protects the 3.5mm/ 4.4mm modules from losing friction over time from continuous tug and pull.
The earpieces/shells are larger than usual, in stark contrast to the tiny Scarlet Mini/ Maestro mini earpieces. They are almost as large as the infamous Sony IER Z1R shells, though lightweight, thanks to their resin construction. I found them reasonably comfortable with the stock gray tips, Azla Sednaearfit Max, and Pentaconn Coreir Brass tips. There were minor SQ differences with each tip, which I will discuss in detail in the sound review section.
Sound:
Judging the Grand Maestro's sound is tricky. It offers four different configurations, and the type of ear tips you pair them with directly affects how they sound. I found my sweet spot with black NOAH modules with bass switches off and will base my review mainly on that.
The frequency graph here (courtesy of "Tone Deaf Monk") showcases each of the four possible tunings. The black Filter + Vocal switch-off combo is the bassiest of the bunch but also the second most elevated in the air frequencies. Turning the vocal switch on considerably tones down both the bass and treble region but slightly elevates the entire midrange band. The Blue NOAH module with vocal switches off is slightly reigned in the sub-bass compared to the black module. The midrange remains identical primarily, while the treble gets some minor boost. It is the most neutral-sounding config among the bunch, though the bass still remains as authoritative as ever. The Blue NOAH module with the vocal switches on has the least amount of bass and treble, while the midrange band is identical to the Black module + Vocal switch-on config.
It is a FATfreq IEM, so of course, the Grand Maestro offers fabulous endgame level bass that interestingly does not go as overboard in the bass region as their lower tier offerings. The bass here is not a mere mindless sub-bass shelf but offers nuance and texture with the perfect amount of fun. The bass lift is also strictly restricted in the lowest registers therefore, the Grand Maestro does not come off as obviously bassy in most tracks at all. When I played some old Kanye West and Daft Punk tracks on it, the bass instantly lit up and positively accentuated the said tracks.
Acoustic tracks and jazz, on the other hand, are not affected by any sort of bass overlap. In fact, the subtle bass undertones of the string instruments sound euphoric. Grand Maestro's bass knows precisely when to play the second fiddle and when to take center stage. It is definitely a proper basshead IEM but with cautious restraint.
Treble, I think, is one of the most overlooked aspects of this IEM. Most people view FATfreq as a basshead holy grail and do not notice how masterfully tuned the Grand Maestro’s treble is. It has proper restraint in the presence region without being overly velvety, handles the often troublesome lower treble region with polite finesse, and then adds some mid-treble sizzle and a generous amount of upper treble, rendering the presentation airy and spacious but not at the cost of fatigue or sibilance.
Sleeping Sun by Nightwish is a track where the excessive presence and treble get rowdy on maximum IEMs. On the Grand Maestro, the treble becomes much more civilized and sibilance-free, as if the entire track went through a fine whetstone.
The midrange is a common ground where all FATfreq IEMs shine. The mids here are present, transparent, and detailed, showing no signs of lean glassiness. In my opinion, the Grand Maestro easily outclasses the Subtonic Storm in the midrange department and stands on equal footing with the Craft Ears Omium and DITA Perpetua, both midrange masters in this price category. From my observation, vision Ears X and Aura (Astell and Kern collab with Vision Ears) also do midrange pretty well, but they do not have the overall clarity and refinement of the Grand Maestro.
That being said, I do not like the Grand Maestro’s midrange with the blue modules and vocal switches on as much as I do with the rest of the configs. The upper midrange gets too forward and messes up the timbre a bit. Blue module with vocal switches off sounds as good as black module with vocal switches off, albeit slightly less warm.
From a technical standpoint, Grand Maestro is a champion and leaves no room for complaints. It's impressively spacious and has excellent soundstage verticality (height and depth). It does not sound as wide as some other IEMs in this price range, but it does not come off as overly intimate. The Grand Maestro's imaging performance is easily among the best I have tried under $4000. The Images it can create are grandiose and headphone-like, reminiscent of the Empire Ears Odin. Granted, It does not sound as holographic as the Odin, but that only becomes apparent after intense A/B ing. Micro-contrasting abilities and resolution are as good as any other ToTL IEMs. Some anomalies like the Aroma Audio Jewel and Fei Wan can take detail and separation to a whole new level, but those IEMs also cost significantly more.
Grand Maestro is also a fantastic all-rounder without any particular penchant for specific genres. This is oddly a rare characteristic I find in ToTL IEMs, most of which are genre specialists. I enjoy old-school hip-hop on it as much as Jazz and heavy metal. It is genuinely a “Maestro” of all trades.
Drivability, Source Pairing, and Tip Rolling:
The Grand Maestro is very hard to drive, which seems to be a common trope associated with all IEMs from Singapore. The Subtonic Storm, for example, requires desktop-grade amplification to open up. The same goes for Symphonium and DITA IEMs. Dongles are definitely out of the question. The Questyle CMA 18 Portable, which is an otherwise very powerful portable device, required high gain and 26 out of its 32-step volume control to make the Grand Maestro sing. It required slightly more power than the Arya Organic, which is a full-sized planar magnetic headphone. I would highly recommend a portable amp paired with the DAP of your choice (preferably the Aroma Audio A100TB, iBasso Osprey DB5, or the Brise Audio Tsurangi) to churn the best out of the Grand Maestro.
With this IEM, I liked the Pentaconn Coreir brass tips the most. The Grand Maestro has huge earpieces, and I had difficulty getting a proper seal with most aftermarket ear tips. Coreir brass worked the best for me. Final Audio E type and Divinus velvet also worked well, though the latter often loses grip. Azla Sednaearfit Max worked well for comfort but made the treble a bit too aggressive for my liking.
Comparisons:
Craft Ears Omnium:
Hailing from Poland, Craft Ears is another highly sophisticated boutique brand offering both CIEMs and universal options. Omnium is the current flagship from Craft Ears. While the full Grand Maestro package is significantly more expensive than the Omnium, the base package is not too far off. Omnium is less pronounced in the low end compared to the Grand Maestro. Bass is more polite and subtle in the mix but gets some extra boost from certain amplifiers, the Aroma Audio A100TB, for example. Omnium has a slightly warmer and more organic midrange, though the level of clarity remains similar. Omnium's midrange is handled by a highly competent planar driver; therefore, picking apart background details is more effortless. Grand Maestro's treble is more airy and spacious compared to Omnium's. Trailing edges of notes are smoother on the Omnium, sometimes making it comparatively less exciting than the Grand Maestro.
Vision Ears x A&K Aura:
Priced almost identical to the Grand Maestro, this collab IEM boasts amazing timbre and technical performance. Aura is heavy, and getting a good seal can be bothersome. It is way less pronounced and less dynamic in the low end compared to the Grand Maestro and less refined in the treble as well. The upper treble of the Aura can cause fatigue occasionally. Midrange is warmer and more lush in the Aura than in the Grand Maestro. I find the Grand Maestro to be a better allrounder than the Aura.
Fir Audio XE6:
Fir Audio XE6 is another bass monster from the USA, but its presentation is wildly different. XE6 presents bass in a punchy, weighty, and brutal manner. It has a midbass tilted emphasis, while the Grand Maestro's bass sort of works counterclockwise. XE6 is a heavily colored set that requires a specific pair of ear tips (Symbio Mandarin Hybrids) to sound balanced. RN6 is less colored, but its bass tuning is similar to that of XE6.
DITA Perpetua:
Perpetua is the best single DD IEM one can get, period. It is very difficult for me to choose a clear favorite between the Grand Maestro and the Perpetua. Perpetua does not have the domineering bass response of the Grand Maestro, yet it does something special on its own. Perpetua has a very organic and natural decay in its low end, which I find unique to this particular set. DITA's low-cost Project M has some reminiscence of that bass. Midrange timbre is more natural on the Perpetua, while Grand Maestro has a markedly superior treble response. Perpetua retains its soundstage superiority, though the resolution level is a notch below the Grand Maestro.
Elysian Annihilator:
Annihilator is a specialist IEM catering to treble-heads. It is also one of the most technical IEMs you can buy, regardless of price. It is not an allrounder, though, and handily loses to the Grand Maestro in both bass and midrange. Bass is the weakest link of the Annihilator and A/B ing with the Grand Maestro makes that fact clear as a day. Annihilator also sports large shells, but it is not as comfortable as the Grand Maestro, from my experience.
Grand Maestro might have a hefty price tag, but I think it does more than enough to warrant that level of cost. It is a delightful set without any jarring flaws, minus maybe the large shell size if you have tiny ears (easily alleviated via the right ear tips). A "Maestro of all trades, Jack of none."Attachments
Last edited:
BonGoBiLai
100+ Head-Fier
Winning in Style Pros: 1. Unique and elegant design
2. Uber compact and slim, truly portable
3. Plethora of connectivity options
4. Enough power to drive most headphones and IEMs except a stubborn few
5. Excellent soundstage and layering coupled with a slightly warm, organic sound signature
6. Highly resolvingCons: 1. Gets slightly warm while in operation
2. All ports are on the same side
3. Slippery. Glass is glass and glass breaks therefore requires caution
4. Slight hiss with sensitive IEMsQuestyle is a highly consistent brand that has only produced bangers and not a single bad apple. This brand used to be a bit obscure in the Western market (probably due to a lack of distributors and the absence of proper marketing), but its fame was actually catapulted by the M15 portable dongle DAC Amp. The much higher-end CMA 15 and CMA 12 Master generally received positive responses. While I am not a “fanboy” per se, I found them to be excellent products without any significant flaws.
However, none of them necessarily blew my mind. That was until I got my hands on this super weird and exciting product Questyle has been cooking and has recently released: the Questyle CMA 18 Portable. By the way, the CMA 18 P is not to be confused with the CMA 18 Master. The 18 Master is Questyle’s current desktop flagship and an evolution of the CMA 15, while the 18P is somewhat of an evolution of the M15.
Disclaimer: I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, Accessories, DAC Amps, and Headphones, with occasional reviews of some budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Specs:
AKM 4493SEQ (departure from the ESS sabre chip used in the M12 and M15, which were more budget-oriented devices)
Equipped with four sets of patented PCT-class current-mode SiP chips.
Peak power of 1W @32 ohms. Questyle uses bespoke current mode amplification, so power figure numbers differ from traditional amplifiers.
Supports up to PCM768kHz/32bit and DSD512 playback. Questyle, interestingly, has dropped MQA support this time.
Price: $699
Connectivity Options and features:
USB-C, Optical/TOSlink, and Bluetooth inputs (aptX-HD + LDAC).
Vinyl to Digital recording function.
3.5mm and 4.4mm headphone outputs and line outs.
Battery Capacity:
4300 mAh (runtime: up to 10 hours. Takes around 2.5 hours to charge from 0 to 100 percent)
Build Quality and aesthetic observation:
The CMA 18P is a weird stunner, for sure. It is surprisingly compact and thin despite housing a fairly large-capacity battery. The outer body features sandblasted aviation-grade aluminum surfaces with silver high-gloss buttons and side panels. It boasts custom Corning glass coatings on both front and back panels. I quite like the gradient dot design, which adds an element of subtle beauty to the transparent front panel, which showcases the beautifully intricate PCB like an aquarium.
There is no OLED status screen, and in typical Questyle fashion, all current statuses are conveyed via tiny LEDs. There are separate LEDs representing different inputs, and four separate LEDs briefly light up, indicating volume level increase/decrease or charge level (via a single power button press). 4 more LEDs further down indicate whether the SiP modules are operational. There is also a separate LED indicating USB connection status. All of these might sound exhausting and troublesome, but it actually took me less than 10 minutes to get used to, and I personally love this unique Morse code ‘esque approach instead of yet another dull, monotone screen.
Sound :
The CMA 18P is quite different sonically from the CMA 15 and M15. It sounds significantly wider and three-dimensional than both. Soundstage has not been the strongest suit of Questyle products before. Yet the exact opposite happens here. The only portable DAC Amp under 1000 USD that can compete with 18P’s staging is the Aroma Audio Air. Both iFi Gryphon and Chord Mojo 2 sound noticeably “closed in” in comparison, especially the Mojo 2.
Bass response is top-notch. It's quick and super snappy and reaches deep. The overall bass response has this textured, hyper-layered vibe to it, which I find to be quite rare in DAC Amps under $1000.
The midrange is sweet and romantic, a characteristic I found missing in previous Questyle products. The vocals sound lush and euphoric. DITA project M, for example, is an IEM I do not associate with lush vocals. It is rather crystalline in nature. But when paired with the CMA 18P, vocals become one of its primary strengths.
Treble response is a massive improvement from the previous 15 lineup. I no longer notice the digital sheen, a total killjoy that somewhat ruined the M15’s treble for me. CMA 18P’s treble is slightly velvety and mellow but without being overly warm. This works well with energetic sets like the Project M, FATFreq Grand Maestro, and Craft Ears Omni. However, I will not recommend pairing the likes of FATFreq Scarlet Mini or Symphonium Titan to it, as these sets are already very subdued in the treble.
Detail retrieval and micro and macro dynamics are standouts, as usual; it is a Questyle product, after all. Imaging and instrument layering are truly holographic, and combined with massive staging capabilities, they create a vast soundscape. Given its small footprint, the output power is rather impressive. I had zero trouble running the Hifiman Arya Organic to its full potential in high gain.
There are a few cons, though. Thanks to the gorilla glass coating around the device, CMA 18P is highly slippery and must be handled cautiously. Accidental falls can result in cracks. Glass is glass, and glass breaks. I would highly recommend buying the leather case separately for additional safety. The unit runs a bit warm, but it is tolerable. I also wish the USB/optical inputs were on one side and outputs on the other. There is some hiss with overly sensitive IEMs (Campfire Audio Ponderosa and Flipears Artha, for example), but it's faint and not noticeable when tracks are being played. Battery life is good and remains consistent. I did not measure the exact run time, but the unit can be comfortably used for a day or two before needing to be charged again.
Bluetooth is generally an afterthought in such devices (iFi Gryphon's terrible Bluetooth performance, for example). CMA 18P’s BT implementation is as perfect as it gets. BT sound from the CMA18P easily outclasses flagship-level dongles like the Cayin RU7, L&P W4, and Questyle M15. I am not kidding; it is really that great. Bluetooth range and stability are both top-notch.
Comparisons:
iFi Gryphon: The Gryphon is significantly warmer but still provides ample clarity. 18P is a few notches above the Gryphon. It has a more coherent and organic sound signature. 18P’s technical prowess outclasses the Gryphon’s with ease. Gryphon cannot drive planars properly despite the big power numbers on paper, a con 18P does not have. It still cannot drive the Susvara or Abyss, though
Chord Mojo 2: I think the Mojo 2 is an equal performer but less versatile and not impressive in terms of staging capabilities. You can pair the Mojo 2 with the Poly and turn it into a streaming device. Pairing the CMA 18P with the WiiM mini essentially does the same thing.
Shanling H7: The H7 is too large and too warm. However, it does offer MQA decoding, which is a plus if you are into that. I appreciate the H7 and enjoyed its sound when I owned one, but the CMA18P is a much better pick in value, form factor, and performance.
iFi Diablo: I struggled to like this iFi product. Diablo is a bit dry and soulless, the opposite of what iFi devices tend to be. It lacks versatility, and the battery life is terrible. However, it can power stubborn headphones like the Susvara and HE6SE, which is an advantage.
Earmen Angel: Angel is an exceptional value at a now-discounted price of $399. It is a bit heavy and bulky, though. The CMA 18P is significantly better sound quality wise but in case you are on a tight budget, I cannot recommend the Angel enough.Last edited:
BonGoBiLai@syazwaned I do not use EQ, plus I do like the Mojo 2 equally, as I have already mentioned. I have compared similar products across different price ranges, not necessarily the same price point.
BonGoBiLai@Hanesu Aroma Air is more transparent and airy (sound sig can be tweaked via opamp swap). Awesome bass performance, just like the CMA 18P. The stage is slightly bigger than the CMA18P if my memory serves me right. It is similar to the sound of the Earmen Angel if you are familiar with that DAC Amp. Not as resolving as the Air is a BT-only device. My general gripe with the Air is that it has an abysmal BT range. You must keep it within 4-5 feet of the BT streaming source. CMA 18P+ Aroma A100TB is a whole different beast, though. Portable endgame for me.
Hanesu@BonGoBiLai Cool, thanks so much for your impressions! I am actually owning the Aroma Air, but when buying it, I was drawn between the Air and the CMA18 (that I have not had the chance to hear yet). That is why I was so interested in this comparison. But is seems in BT both devices are comparable? - and since I got the Air for a great price, I think I have made a good decision.
BonGoBiLai
100+ Head-Fier
Fusion of Neutrality and Listening Pleasure Pros: 1. Neutral done right
2. Open and airy
3. Well executed midrange
4. Fantastic separation and layering
5. Good technical performance
6. Supreme build qualityCons: 1. Treble is not forgiving in poorly mastered tracks
2. Stiff stock cable
3. Cutthroat competition in this price rangeLetshuoer is a Chinese IEM manufacturer and they are among the most consistent performers in the budget/mid-fi chi-fi scene. I have tried almost every significant IEM Letshuoer has come up with so far. Starting from the divisive and not particularly well received ‘’Tape’’ to modern cult classics like S12 and S12 Pro. I also got to try the S15, EJ07M and DZ4. All three had fantastic tuning. (The EJ07M I specifically adored.) Given my experience with their prior releases, I am quite confident to give my verdict that Shuoer has pretty much struck the gold mine when it comes to execution. They are not pumping half-baked models left and right hoping for something random to stick.
That being said, eyebrows were definitely raised when Letshuoer announced their 12 driver hybrid Cadenza 12 for a ‘’modest’’ price tag of $2300. I have had my fair share of run-ins with expensive ToTL IEMs. In fact, I think I have experienced almost every single significant summit fi IEMs out there. But those IEMs are generally from brands with a history of making ToTLs. Take FiR Audio from example. The founders are ex-64audio partners who branched out to form FiR Audio and the ‘’Lowest end’’ model they make still costs more than 1000 USD.
Plus the $1500-2000 price range is extremely competitive. There are legendary IEMs like the 64audio U12T, Campfire’s recent mega-hit (Bonneville), Final Audio A8000, Sony IER Z1R, Sennheiser IE 900, and Symphonium Crimson to name a few. Therefore, Letshuoer Cadenza must do something truly exceptional to stand out.
Disclaimer: This review was organized as part of a tour. I have sent the unit to another friend of mine after this review as a part of the tour. All our five reviews will be published together after we are done with the reviews. All photos and extra third-party accessories (Softears UC tips, Earaudio ultra premium cable and Eletech Baroque tips) are provided by me to other tour members. I work closely with a friend @Sajid Amit who runs a YouTube channel focusing on discussion and reviews of IEMs and headphones: https://www.youtube.com/@amplifyaudioreviews
Specs:
10mm Liquid Silicone Dynamic Driver.
11 High-Performance Balanced Armature Drivers from Knowles and Sonion.
Five-Axis CNC Machined Titanium Ear Shells.
Physical and Electronic Five-Way Frequency Crossover.
Build Quality, Comfort and Accessories:
The unboxing experience of upscale Letshuoer models is generally quite satisfying. Cadenza 12’s unboxing is a standard affair for a $2300 set. I have hardly anything to nitpick here. The Cadenza comes packed in a fairly large box. The accessory package includes a high-quality leather case with Shuoer’s logo imprinted on it, 9 pairs of ear tips (3 pairs of 3 different types), a cleaning cloth, and a modular cable (2.5mm, 3.5mm, and 4.4mm modular terminations are included).
The earpieces are made of Titanium and are built like tanks. Feels quite hefty and substantial when held. The smooth mirror finish is fingerprint magnet though and I would suggest exercising caution while handling the Cadenza 12 as small scratches usually appear more obviously on mirror-finished surfaces. I do not like the included stock cable though. It is a decent cable spec-wise and does its job well but the stiffness reminds me of some Cardas headphone cables. I can live with stiff cables when it comes to headphones but ergonomics is a crucial factor for IEM cables which the Cadenza stock cable fails to nail IMHO. The comfort is excellent. I experienced zero irritation in prolonged listening sessions. However, Cadenza earpieces are on the heavier side so if you are looking for something that ‘disappears’ into ear canals, Cadenza 12 will not fit the bill.
Sound:
I have already mentioned that Cadenza must do something exceptional to justify its rather steep price tag. So I mustered all the skepticism I could and played the first track. To my surprise, Cadenza 12 is a surprisingly ‘normal’ sounding set. It is tuned to be neutral and balanced with some added spice up top. It is not as V-shaped as the Sennheiser IE 900 nor it is as fatiguing in treble as A8000 or Softears Turii Ti.
The bass response is commendable but not overdone. Cadenza’s does not have the tactility of IE 900 or the physicality of Z1R but it will satisfy most people except maybe the hardcore bassheads. There is a good balance between midbass and subbass and I would praise Letshuoer for not blindly following the annoying trend of complete midbass omission which is all in rage lately.
The midrange is neutral, super clean, and natural sounding overall. It sounds faithful to the recording and avoids relying on lower mid-recession (which usually creates an illusion of transparency at the expense of male vocals). There is some upper-mid energy though that makes female vocals pop more. Male vocals sound great as well though a bit more grunt in the male voices would have been perfect. Cadenza pretty much nails the midrange in my opinion. It is non-offensive, smooth yet crystal clear at the same time. This trait is not something I notice much in Chi fi IEMs, including Shuoer’s lower-end offerings.
Treble is where things become slightly complicated. The treble is fine for the most part. It does not sound as shimmery as IE 900, MEST MK2 or A8000. However, poorly recorded tracks and heavy metal music are not something I enjoy with the Cadenza as the treble resonance accentuates cymbal hits, making them more sizzly and intense than I prefer. Treble remains smooth and controlled in other genres. I love the Cadenza for jazz and classical music.
Detail retrieval is decent for a $2300 set but it is not as incisive as other hybrids and all BA sets in the same price range. 64audio U12T and Symphonium Crimson, for example, sound more detailed when A/B ed. Instrument layering and separation, however, is a masterclass. Cadenza does an amazing job separating the space between each instrument. This makes live music recordings a breathtaking experience. Imaging is precise and comparable to its similarly priced peers. Staging has excellent height and depth but width is just adequate. The 3000 USD Dita Perpetua sounds cavernous in comparison while the Cadenza 12 is fairly intimate.
Comparisons:
64audio U12T: The U12T is the closest competitor both specs and price tags considered. It is a cult classic and beloved by audiophiles all over the world. U12T is technically better than the Cadenza. It is more resolving and more microscopic in comparison. However, the U12T is also bland sounding and while the bass is great for a BA set, it is still kinda one notey. I do not think they necessarily 'beat' each other. Many might feel comfortable buying the U12T given its already established status. I personally veer towards the Cadenza 12 a bit more.
Symphonium Helios: Helios is half the price yet easily goes toe to toe as long as technicality is concerned. The Helios is also bright but it is less forgiving than the Cadenza 12 in poor recordings. Midrange on the other hand, is massively better with the Cadenza. Bass response will boil down to personal preference. Helios is subbassy with very little mid bass presence. Cadenza 12 is more balanced in that regard.
Sennheiser IE 900 and Sony IER Z1R: IE 900 and Z1R are insanely fun single DD IEMs but are not directly comparable with the Cadenza 12. Both have very unique sound signatures and are special on their own. Cadenza 12 has one big advantage though. It is a supreme allrounder which the former two are not.
DITA Perpetua: Perpetua sounds like a grown up, more mature Cadenza 12. Both are balanced, pleasant sounding allrounders. Dita is more natural sounding especially in the midrange and has a massive soundstage that the Cadenza 12 cannot really compete with. Perpetual also has a bit more organic and tactile bass response.
Final thoughts: Letshuoer Cadenza 12 is an impressive IEM with commendable technical prowess and a beautiful timbre. It does a great job standing out from the popular crowd following a neutral, minimally colored yet organic approach. The only other IEM that pursues a similar tuning philosophy is the more expensive DITA perpetua. Sometimes raw detail becomes a detriment when we long for balance and ‘’musicality’’. I think Cadenza 12 fits the bill perfectly, albeit the price to pay is steep.Last edited:
BonGoBiLai
100+ Head-Fier
Steampunk Galore Pros: 1. Built like a tank
2. High-quality termination and connectors
3. Great ergonomics and comfort
4. Soundstage expansion and added note weight, mellows down treble grit/splash
5. PrettyCons: 1. Might not be an aesthetic match with muted-looking IEMs
2. Not ultra pliableBackground
ISN is a familiar name among cable aficionados who spend moderate amounts on cable but do not go full-crazy with their wallets. ISN also makes a few IEMs, some of which were huge hits, H40 for example. This review will focus on the ISN G4, a ‘midrange’ cable from ISN that sits comfortably in between their flagship ‘Solar’ and super budget ‘H8’ cable. I understand there is skepticism surrounding cables and their effects on sound. Therefore I’d try to cover both the ergonomic/build/aesthetics aspects and sonic aspects of the G4 in this review.
Disclaimer:
I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, DAC Amps, and Headphones with occasional reviews of budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Specs:
Type-6 Litz configuration
Environmental friendly transparent PVC sheath
CNC-cut Aluminium alloy integrated slider
Silver–contained tin solder
Single crystal copper mixed graphene silver-plated + single crystal copper mixed (graphene infused)
Number of cores: 4 shares of 180 cores per share
Connector: MMCX/2pin 0.78mm
Plug: Gold-plated
Cable length: 1.2M
Sources used:
Sony WM1ZM2
Aroma Audio Air
Earmen Angel
IEMs used:
Penon Turbo
Kiwi Ears Quintet
Flipears Aether
Unboxing, accessories, aesthetics and build quality
G4 comes packed in a nice glossy blue box with ISN branding on it. Opening the outer packaging reveals a super nice hard case that can not only store the cable itself but also a moderate-sized IEM. ISN also provides a metal shirt clip and leather cable winder/strap.
Aesthetics is a highly subjective thing. I personally find the G4 to be quite pretty. Camera lens can hardly portray how nice it looks in real life. But I’d admit that the flashy and bold color scheme might not go so well with muted, stealthy-looking IEMs. I love the connector parts (2-pin termination sleeves, 4.4mm plug, and the Y splitter). The dark copper trim really goes well with the silver-gold wires. If you are a fan of steampunk aesthetics then G4 will be right up your alley.
Build quality is fantastic, with no flaws to speak of whatsoever. I have had bad experiences with cables that cost 3 or 4 times as much. I had this pure silver cable that had one of the worst 4.4mm plugs in existence. It often refused to click in whenever I tried to pair it with any of my balanced sources. Fortunately, the 4.4mm plug of the ISN G4 is of very high quality and attaches with secure and tactile clicks. The 0.78mm connectors are high quality as well. They are not overly thick (thick pins are hard to attach and detach and the female 2-pin receptacles on the IEM become loose after a few swaps) nor overly thin. Not susceptible to bending easily as well.
Comfort is decent. G4 is on the thicker side but it does not weigh down on your ears therefore discomfort is rare even after hours-long sessions. I would not call it ultra-pliable though. If you are looking for an ultralight mouse paracord kind of experience then look into far cheaper Penon OS133 or CS819 cables. However, these two are also prone to tangling which never happens with the G4. There is no cable memory or permanent kinking/bending issues either.
TL/DR:
Build and finishing: 10/10
Comfort: 8.5/10
Ergonomics: 9/10
Sound:
The effect of cables on sound can often cause discord between audiophiles. I personally find differences in sound with different cables. The changes can be drastic or subtle, for the worst or for the best depending on the pairing. Sometimes there are hardly any changes. If you believe that cables are snake oil like I once did then it is fine. If you are in the opposite camp then this section is for you.
G4’s general effect on the sound is sound stage expansion, added midbass grunt, slightly warmer midrange, and airier yet non-fatiguing treble. The bass elevation is very subtle yet noticeable, especially with IEMs that otherwise lack midbass impact, AKA Harman tuned chi fi IEMs. The lower midrange sounds slightly warmer than stock, giving male vocals more grunt and body. If you like breathy, crystalline-sounding vocals then G4 will be slightly disappointing. It is catered more toward the fans of lush, sweet-sounding vocals.
G4’s effect on treble is interesting. There was generally a noticeable lift in the air region with the G4 but at the same time treble sounds extremely smooth and splash-free. IEMs with metallic, gritty treble can greatly benefit from the G4 pairing.
On the technical side of things, G4’s party trick is soundstage width. Almost every single IEM I tried with this cable sounded more spacious and airy than the stock. Soundstage height, however, remained mostly unchanged. I did not perceive any significant change in overall resolution/detail. Separation actually took a hit with a few pairings (most likely owing to the overall warmer tilt of the G4) but it never felt like a dealbreaker. Lateral imaging felt sharper and more accurate, a by-product of added air and soundstage width I presume.
I would discuss three IEMs among the ones I tried with the ISN G4. First was the Kiwi Ears Quintet, which comes with an ultra basic, cheapo cable. Second was the Penon Turbo, which comes with Penon CS819 cable, and finally, the Flipears Aether which comes with a very high-quality stock cable that costs significantly more than the G4 if bought separately. Quintet is quite cable-sensitive and I saw some very positive results with the Penon Bass cable.
There was a marked improvement in bass and note weight, albeit at the cost of some soundstage. I like the G4 pairing even more. There were all the benefits of the Penon Bass cable (not as warm though) but staging actually improved and the occasionally bothersome splashy, gritty treble became way more tame and palatable. Separation is still slightly better with the stock cable but I am more than happy to make that sacrifice given the tonal improvements the G4 cable provides.
Turbo already sounds great with the CS819 cable and unlike the Penon Bass cable, G4’s pairing was actually great. Turbo sounds more open and airy with the G4 cable compared to the CS819 without sacrificing any of that awesome BA bass.
Aether already comes with a superior cable but I briefly tried it with the G4 nonetheless. The stock cable is superior in terms of comfort and ergonomics but I noticed no sonic deterioration with the G4 cable. The soundstage is more spacious with the G4 still which seems to be a recurring theme with this cable.
Verdict:
ISN G4 is a fantastic cable for 99 USD. Even after omitting the sonic side of things, the build quality, comfort, and finishing still make it worth a purchase. I would highly recommend this to anyone looking for a built-as-tank, eye-candy cable in the 80-100 USD range.
Last edited:
BonGoBiLai
100+ Head-Fier
Between Earth and Heaven Pros: 1. S tier Timbre
2. Brilliant, straightforward tuning switch implementation that works wonderfully
3. Superb Bass (both quality and quantity) with bass switch on
4. Buttery smooth, non fatiguing sound
5. Exemplary treble extension
6. Among the best midrange renditions under 2000 USD
7. Technical powerhouse. Cavernous soundstage and incredible separation.Cons: 1. Extremely easy to drive but very very sensitive. Requires a super clean source with low noise floor otherwise will hiss while idle.I have reviewed the Flipears Aether recently and proclaimed my unwavering love and adulation towards that IEM. To me, it is the best overall IEM under 1500 USD. When you set up a bar so high with a 700 USD ‘’budget’’ IEM, where do you go from that, especially with a hefty price tag of 1700 USD? Artha retains almost the entirety of the tonal characteristic of Aether, while simultaneously bettering it in terms of technical prowess. It has some quirks up its sleeve too! Let’s dive in.
Disclaimer:
I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, DAC Amps, and Headphones with occasional reviews of budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
About Flipears:
Flipears is a boutique IEM brand from the Philippines specializing in custom IEMs primarily targeted toward musicians and audio engineers. They have started offering a limited number of universal fit IEMs as well. Aurora is their universal fit flagship while Artha is the second most expensive IEM the brand offers. They are not very well known outside the native borders but have recently started participating in global audio expos. They had a booth in Canjam SoCal 2023 and have plans to join more future conventions worldwide.
Specs:
Driver Tech: All BA
Driver config: 8 BA in 2-2-2-2 formation, 2 Sub bass, 2 Low, 2 Mid, 2 High
Impedance: 16ohms @ 1kHz
Sensitivity: 118dB @ 1mW
Special Feature: Tuning Switches
Sources Used:
Sony WM1ZM2
Earmen Angel
Aroma Audio Air
Build, Accessories, and comfort
Build quality is identical to Aether, AKA flawless. Just extremely good fit and finish all around. The faceplates are incredibly pretty and cameras cannot do them justice really. Just like the Aether, artha also features adornments on the nozzle side of the earpieces which further enhances the overall aesthetics.
The accessory set is identical to the Aether as well. You’ll get the same excellent, spacious leather case, set of S/M/L sizes ear tips (2 pairs for each size!), a cleaning tool, a bunch of nice stickers, a super nice cleaning cloth, and a high-quality SPC cable that’ll put stock cables from many ‘’big names’’ to shame.
Comfort is easy S tier. Artha is the second most comfortable IEM I have tried to date, only second to Sennheiser IE900 and tied with the Flipears Aether. Never causes irritation, never causes heat, or sweat build-up. It just works.
TL/DR
Build: 10/10
Accessories: 10/10
Comfort: 10/10
Flawless Victory pt.2! (pt.1 being the Flipears Aether)
Sound
Artha can sound like completely different IEMs depending on how you configure the switches. With both switches off, it sounds neutral and studio monitor-like. No accentuation in the bass or treble (AKA kind of boring). Flipping on the bass switch instantly turns Artha into a bass monster. This is among the best BA bass renditions under 2000 USD IMO if not the best. The bass switch also eliminates all traces of BA timbre/grit from the midrange and treble. Flipping the other switch (with bass switch turned off) will do the opposite. There is significantly more pinna gain and treble sparkle which greatly benefits string/air instruments and orchestral music. However, I will not recommend this mode for Rock/Metal/EDM.
The best configuration is what comes as stock out of the box (Both turned on). Flipping both switches on turns Aether into a true allrounder that can play anything thrown at it with effortless finesse. This configuration also sounds the closest to Aether but with more bass grunt and upper treble extension.
The midrange is perfect to my ears with both switches turned on, easily among the absolute bests under 2000 USD. I would, in fact, rate the midrange higher than both the Sennheiser IE900 (V-shaped but super clean and lifelike midrange) and U12T (cult classic). The balance between clarity and weight in the midrange is astonishing, to say the least. There is not even the faintest trace of shout or harshness in the upper midrange (With both switched turned on). However, there is some glare if you turn the bass switch off and keep the enhanced treble/clarity switch active only.
Treble is perfect for my taste as it’s tame in the lower/mid treble area therefore consonants (s/sh/th notes) never sound harsh or metallic. I have friends who prefer exactly the opposite though so there’s that. Treble is actually way more nuanced than we generally believe and preference plays a crucial role here. Upper treble is elevated just like the Aether and other Flipears products which contributes to the airiness and overall clarity and spaciousness of the sound.
Artha is a behemoth when it comes to technical performance. The detail retrieval is among the absolute best in the sub 2000 USD range and is a noticeable step up from the cheaper Aether. I had frequent ‘details I never knew were there’ moments despite my daily driver being a Hifiman Arya Organic. Artha has extremely good separation,macrodynamics, and layering which play a significant contributing factor to the perception of detail. The soundstage is something I would describe as ‘cavernous’. Yes, the Empire Ears Odyssey/ Odin, Oriolus Trailii, and Dita Perpetua stage taller and wider but those are in a completely different ballpark price-wise. It is still an IEM at the end of the day so do not expect the out-of-head experience of HD800s or Arya Organic. Imaging is extremely precise and sharp, almost as good as ToTL sets out there. Gaming with the Artha was as fun as gaming with the Arya Organic so go figure. I do not think Artha leaves much room for complaints in the technical performance department.
Comparisons:
64audio Tia Trio: Trio has fantabulous bass (64's DD implementation is pure magic) and edges out the Artha in bass tactility. Technical performance and resolution are more or less similar but Artha has better separation and soundstage (both height and width). Trio can also come across as slightly harsh in the lower treble but I have friends that prefer that zing. Artha plays rather safe in the lower/mid-treble region.
64audio U12T: U12T is more resolving but the mushy transients make it sound kind of dull for my preference. I prefer the tonality of the Artha with both switches turned on. U12T is a cult classic though so do not let my personal bias sway your opinion of it. Try to audition beforehand if you have never tried the U12T before, it might work for you.
Sennheiser IE900: Bass god, V-shaped masterpiece from Sennheiser. It is an amazing IEM but kind of a specialist. There are certain tracks and genres that sound marvelous on it but the opposite can happen as well. Artha is technically more proficient and has a more palatable treble response (IE 900 is shimmery so can cause fatigue in prolonged listening sessions).
Sony IER Z1R: Z1R is a timeless legend and I cannot think of another IEM except the Dita Perpetua that can beat its soundstage. Z1R's bass cannot be beaten by anything under 2000 in my opinion (IE 900 gets close) but the midrange is hugely superior on the Artha. Treble performance is equal on both.
Final A8000: One of the most resolving IEMs regardless of pricing. The treble, however, is not for the faint-hearted. Artha does bass better than the A8000 and treble sounds more refined overall. A8000 takes the crown in terms of sheer resolution though.
Concluding remarks
Flipears Artha is a perfect blend of great timbre and absolutely amazing technical performance, especially with both switches turned on. Highly recommended for all vocal + bass lovers out there who do not want to miss out on treble extension and clarity.Last edited:
nihalsharmaI had a chance to listen to these iems. They are really good. If you have ever tried SoundRhyme SR8, you can relate that these also sound on the same lines with some refinements and a better soundstage.
BonGoBiLai
100+ Head-Fier
A Uniquely Musical and Immersive Experience Pros: 1. Brilliant bass rendition from a Be coated driver
2. Lush, weighty midrange
3. Above-average dynamics
4. Good technical performer
5. Good quality accessoriesCons: 1. Fit dependent and requires some time to bend the ear hooks perfectly
2. Genres that require upper treble elevation will slightly underperform
Background:
Spirit Torino is a brand from Italy that has always been mysterious yet respectable. Their headphones are known for bold and flashy aesthetics, great build quality, and meticulous craftsmanship. However, due to availability issues in this part of the globe and the highly expensive price tags, I have not been able to try out any full-sized Spirit Torino headphones yet. I was therefore very excited to get my hands on the Spirit Torino Twin Pulse Beryllium IEM which is essentially their first foray into in-ear monitors. But how does it actually perform? Let’s dive in.
Disclaimer:
I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, DAC Amps, and Headphones with occasional reviews of budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Specs:
Driver Tech: Twin Pulse isobaric System
Driver Type: 2x 10mm dynamic micro drives beryllium Spirit
Cable: 1.2m Litz 392 cores OCC silver-plated + 8cores silver
Impedance: 16 ohm
Weight (without cable): 6 grams
Sensitivity: 114 dB @1kHz, 1mW
Price: 1000 EUR
Sources Used:
Sony WM1ZM2
Earmen Angel
Aroma Audio Air
Tech inside and how the Twin Pulse is tuned:
To avoid confusion between the Twin Pulse full-sized headphones and Twin Pulse Berrylium IEM, I’ll use the term ‘’Twin Plus Be’’ from this point on (Beryllium is a chemical element with the symbol ‘’Be’’ and atomic number 4). Twin Pulse Be utilizes a new patented tech developed by Spirit Torino, namely the ‘’Twin Pulse scaled isobaric system’’. The earpieces are not one-piece constructions but several parts working together in unison. Instead of a single dynamic driver, Twin Pulse Be houses two identical 10mm drivers composed of neodymium magnets and Beryllium coated diaphragms. Moreover, three different tuning modules are provided so that you can tweak the sound profile to your liking. Although swappable tuning filters are not a particularly novel idea anymore, I think the implementation here is great as all three tuning modules are distinct and relevant. I liked the grey tuning modules the best and will base my review on them.
Spirit Torino takes great pride in their tuning approach. As per their statement, they develop their headphones through a process of comparison between the live music event and the recording with a binaural technique that is listened to after a few minutes by a technical committee composed of musicians, sound technicians, the audience present in the room, and Spirit staff. The different perspectives from each audience group are then analyzed and implemented in the final tuning.
Build Quality, Aesthetics, Accessories, and Comfort:
I expected an over-the-top packaging and unboxing experience given the avant-garde design language of Spirit Torino products. Surprisingly the whole unboxing experience was elegantly simple and straightforward. Twin Pulse Be comes packaged in a white apple-style box with Spirit’s logo on top and the model name on the flap.
Opening the flap reveals another flap and underneath you are greeted with the accessories and the IEM itself. The accessory package includes a high-quality leather case with the Spirit Torino emblem inscribed on it, 3 different types of tips (Silicone, Silicone dual flange, and Foams),3 different tuning nozzle sets, Two different sets of cables (3.5mm and 4,4mm), a quarter-inch adapter, and a cleaning brush.
The IEM/Earpieces themselves are very well made as almost every single part is milled out of Aluminium. The faceplate adornment that seems like a miniature clone of Spirit’s very expensive Valkyria headphones, is actually a functional part of the driver array. It doesn’t merge into the earpiece shell though and the edges can feel a little sharp while handling. The cable however is just decent, it does not feel particularly expensive or high end but it serves its purpose just fine. Note: Twin Pulse Be uses QDC connectors. Regular 2 pins will fit but might give you fit trouble. Make sure to buy QDC cables if you wish to cable roll. As for the memory wire-based ear hooks, in stock form, the ear hooks can cause potential fit issues. The company suggests bending the hook slightly inwards. This technique gave me the best fit and comfort and is advisable for all.
Comfort is fine once you figure out how to bend and shape the ear hooks. There was no driver flex and no irritation even after prolonged use. Aesthetics is a subjective thing, I think Twin Pulse Be is a distinctive-looking, pretty IEM. It sort of reminds me of Acoustune IEMs from Japan.
Sound:
Spirit Torino Twin Pulse Beryllium is aimed at both music-first audiophiles and audiophiles who put sound on a Petri dish and analyze it with a microscope given the tuning philosophy that Spirit Torino’s engineers follow. However, I personally think that Twin Pulse Be will appease the former camp of audiophiles more.
Having Be drivers, in fact, two of them makes the Twin Pulse Be a visceral, insanely dynamic, and fun experience. The bass punches and slams like a hammer, yet remains extremely tight and controlled all of the time. The sheer tactility of the bass easily rivals the likes of Sennheiser IE900 and IER Z1R. You can add or subtract 3dB to the stock bass presentation using tuning filters. The gray is reference, the red increases bass by 3dB and the black subtracts by 3dB.
The midrange is warm-tilted and weighty, especially in the lower mids. This makes male vocals sound extremely organic and natural. There is still sufficient upper-mid clarity due to the tuning with sufficient pinna gain. The clarity goes up with the gray and black tuning filters. Overall it’s a warm midrange and very reminiscent of the Sennheiser HD650. Frequency response below.
Frequency Response: Spirit Torino Twin Pulse Be
The treble is quite decent overall - and far more present than the above graph allows. There is some lower treble sparkle that greatly benefits female vocals and adds excitement to the overall sound. However, I would not call the treble particularly extended, especially in the air region. The Twin Pulse Be is quite reserved in that area and orchestral music and air instruments do not shine to their full potential. For rock/metal/EDM or anything vocal-focused, the Twin Pulse Be is incredible.
Technical Performance:
Overall, it’s a decently technical set.
The resolution is decent for the price. I wouldn’t use the term “punching above the price point” here though. While macro details are amazing on the Twin Pulse Be, some all-BA/Hybrid contenders do micro details better, e.g., Sony IER M9, UM MEST MK2, Symphonium Helios, and Flipears Aether.Soundstage is quite good, especially the stage depth is exceptional though I didn’t find it particularly wide. That is an inevitable trade-off you have to make with warm, midrange-focused IEMs, I find.Imaging is accurate: I faced zero issues detecting positional cues while gaming. Separation and layering of instruments are also satisfactory, I could effortlessly distinguish between notes, even during the busiest passages.Remember, fit is essential to churn out the best out of Twin Pulse Be. Spend some time figuring out the ear hook bending and fit and the reward will be well worth the effort.
The TLDR for technical performance is that it is a serious contender at $1000 without being class-leading. But that is okay since the goal of this IEM is to offer a musical and immersive experience, which it does in spades.
Concluding Remarks:
The Spirit Torino Twin Pulse Be is the perfect companion for those who seek brain-melting bass and vocals above all else. Given Spirit Torino’s reputation as a high-end headphone manufacturer and their delectable craftsmanship, I think the Twin Pulse Beryllium is a compelling buy at 1000 EUR/USD. I strongly recommend it on behalf of Amplify Audio Reviews.
Attachments
Last edited:
BonGoBiLai
100+ Head-Fier
Anomaly Pros: S tier timbre
Incredible bass from an all BA set
Supreme midrange and treble
Zero fatigue, zero sibilance, zero shout
Holographic staging and imaging
Detail retrieval almost akin to ToTL sets
Technical powerhouseCons: For 700 USD? NONE
Filipino people in general are ardent hobbyists and I interact with them often in audiophile forums. I am somewhat embarrassed to admit that I have been barely aware of their domestic high-end offerings. Flipears is an IEM boutique from the Philippines that specializes in custom IEMs primarily intended for audio engineers and musicians. They are not particularly well known outside of their native borders as they never really operated internationally via vendors until very recently. However, Flipears was a participant at the Canjam SoCal 2023 and I have managed to my hands on two of their newest universal fit IEMs, the 1700 USD Artha and the 700 USD Aether. I’ll do a separate write-up on the Artha (Spoiler: The best I have tried under 2000 USD) but this one will focus solely on the Aether, a sub-kilobuck anomaly.
Disclaimer:
I am an audiophile/ occasional hobby reviewer and a friend of Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high-end IEMs, DAC Amps, and Headphones with occasional reviews of budget products. Check out the video reviews of Amplify at: https://www.youtube.com/@amplifyaudioreviews
Specs:
Driver config: 4 Balanced Armature Driver, 4-way Crossover + Bass Switch
Driver setup: 1-Sub low, 1-Low, 1-Mid, 1-High
Sensitivity: 109dB @ 1mW
Frequency Response: 5HZ – 20kHz
Price: $700
Sources Used
- Sony WM1ZM2Earmen AngelAroma Audio Air
Accessories, build quality, and comfort:
Both Artha and Aether come with identical accessory packages and my oh my, this is one of the most luxurious, no-bull accessory packs I have been presented with to date. The leather case is built to absolute perfection, feels extremely high quality, and has more than ample space inside. The stock cable is one of the best out there period, surpassing even Dunu cables in terms of quality and skin feel. The stock tips are a perfect 10/10 and tip rolling is completely unnecessary. Moreover, Flipears provides S/M/L spares, 2 pairs of each size! Not one, but two pairs! As someone who is paranoid about losing the stock tips, this serves as a massive assurance. The accessory package also includes some nice stickers (as souvenirs), a cleaning tool, and a super nice quality cleaning cloth.
Build quality is perfection incarnate. Extremely good fit and finish all around with breathtakingly beautiful faceplates (shifts color depending on the lighting angle but not in a tacky way. Photos do not really do them justice). There is also some adornment on the opposite side, a small but significant aesthetic touch which I highly appreciate.
Comfort is pure bliss. The earpieces feel isolated, secure, and locked in but never ever cause irritation or wearing fatigue. I am not aware of any IEMs from other brands that are comfier, except the Sennheiser IE series.
TL/DR:
Accessories: 10/10
Build Quality: 10/10
Comfort: 10/10
Flawless Victory!
Sound:
Aether is the best IEM under 1000 in my book, in fact, I would raise that bar to 2000 if Artha didn’t exist. This might sound like hyperbole but that’s genuinely what I feel about this IEM. I have tried almost everything under the sun in this price range and most of them were kind of underwhelming. Aether not only shattered my initial skepticism but utterly left me in awe.
I’d start with the bass response. Good bass and all BA config are not something I associate together usually. There have been only three exceptions among the ones I have tried and all of them had their limitations. Sony IER M9 lacks extension in the sub-region and relies too much on the midbass grunt. Symphonium Helios is the complete opposite (Weak midbass but rumbly subbass). Plus Helios can showcase its low-end prowess only with high-end sources like WM1ZM2. U12T’s bass while decent, is still kinda bland and cannot hold a candle to high-end single DD IEMs. Aether’s BA bass is an anomaly and it has that perfect blend of midbass grunt and subbass rumble. The bass is authoritative, textured, and extremely dynamic, putting most single DD IEMs to shame, except maybe the likes of Sennheiser IE600/900, Dita Perpetua, and Sony IER Z1R. Aether is also one of those rare IEMs where the tuning switch actually works. That additional 5 DB boost turns Aether into a full-on bass monster, while still perfectly retaining its overall clarity and tonal balance.
The midrange is by far the best I’ve heard under 1000 USD, surpassing even the Sony IER M9. Both male and female vocals sound breathtakingly natural. I’ve been playing ‘Judgment’ by RGG Studio (published by SEGA) for a few weeks now. It's a heavily narrative-driven gameplay experience but the main character, Yagami’s voice sounds extremely raspy and borderline unlistenable, completely ruining that experience for me. However, Aether somehow completely eliminated that rasp, something even the ultra-smooth IER M9 couldn’t do. The same magic happened with ‘Hellraiser 30th anniversary version’ by Black Sabbath where Lemmy’s raspy voice can otherwise potentially give you brain hemorrhage (just kidding).
Treble is extremely linear and effortless. Perfection incarnate, unless you are someone who likes lower/mid treble peak (5-7k zone) as Aether is extremely tame and smooth in that region. I personally dislike lower treble spike but love upper treble elevation and Aether fits that bill perfectly. There is zero hint of sibilance. Aether is a complete antithesis of the usual gritty, plasticky high-end that plagues most balanced armature/Piezo-based IEMs out there, including many supposedly high-end ones.
God-tier Timbre aside, Aether is also a technical powerhouse. ‘Holographic’ is not a term I usually associate with Sub 1000 IEMs but Aether made me re-evaluate that sentiment. The soundstage is not only impressive but actually trades blows with behemoths like Dita Perpetua and Empire Ears Odin. The stage, in fact, reminds me of my beloved Arya Organic, albeit with the inevitable limitations that come with IEMs. Imaging is equally good and separation is simply jaw-dropping, especially considering the sub-kilobuck price tag. Resolution and speed are akin to IEMs that cost significantly more. Yes, Aether is as resolving as stuff like Sony IER Z1R and Sennheiser IE900. The Only sub-2000 USD IEMs that can edge it out in terms of sheer resolution are its bigger brother Artha, Final A8000, and 64 Audio U12T.
Comparisons:
Thieaudio Monarch MK1: The og monarch sounds like a tin can in comparison. I have not tried the later iterations but I do not think things would vary much.
Flipears Artha: Artha and Aether are very very similar sounding IEMs. Artha has more meticulous tuning permutations and is a technical behemoth. Bass quality is even better on the Artha.
Sony IER M9/ Z1R: I consider myself to be a rabid M9 fan but I must admit, the cheaper Aether completely outdoes it, on all fronts. Z1R is still wider and has that guttural, visceral bass response that no all BA can emulate. The midrange is miles better on the Aether though.
Sennheiser IE900/600: Controversial claim but Aether is more palatable than both in my opinion. While I love both IE 600 and 900, the overly shimmery treble and recessed midrange can become bothersome often. Bass is definitely better on the Sennheisers though.
UM MEST MK2: MEST MK2 while technically sound, leaves a lot to be desired in terms of coherence and timbre. It sounds like a typical chi-fi IEM. Moreover, I am not a fan of its loose, overly diffused bass that lacks punch or authority. Aether/Artha over it any day, every day.
64Audio U12T: I’d be honest, I do not understand why 64audio stuff is so well-liked. I find U12T to be extremely dull and unengaging (though It is the only 64Audio I find decent). However, U12T is widely regarded as a cult classic therefore consider my opinion on it as purely personal bias.
Final A8000: A8000 is more resolving but I’d happily choose Aether over the treble murder cannon A8000
Dunu SA6/ CA Andromeda: Not even remotely close.
Concluding Remarks:
Flipears Aether is a price class-defining anomaly. Kudos to the amazingly creative and dedicated people behind this masterpiece. I sincerely hope this brand will get more global recognition in the coming days.Last edited:
theveteransI hate to use this word but this to me is just pure shilling. I had the opportunity to demo both the Artha and Aether and also the AXL at CanJam SoCal and IMHO, Artha has some of the traits you wrote, but technicalities of the Aether in the broadest sense is just priced right and comparable to somewhere between a Moondrop Blessing 2 and Moondrop Variation. Artha has a more balanced signature and is similar to Andromeda in technicalities. I enjoy both but would never call them as class leading at their asking price. To be blunt, ZR1, U12T and Monarch MK2 are a step above both Artha and Aether in raw technicalities
BonGoBiLaiI understand this review is overly positive. I expressed what I truly felt about this IEM as it fulfills what I seek in an IEM perfectly. (I bought this unit from a friend who is recently back from his tour in Manilla BTW). As for the comparisons, I only like Sony IER M9 and Symphonium Helios in that range. There is obvious bias as I prefer a specific type of tuning (Warm/bright Neutral + tame lower treble) and seek good timbre first, raw technicalities second.
rincejesterI think the issue is less bias due to preferring a certain sound sig, and more the review is so unrealistic that it defies belief. As one of the few reviews on it, it actually makes me less likely to purchase it.
The accessories, look generic at $400 let alone at $700.
BonGoBiLai
100+ Head-Fier
Turbocharged Bass Pros: 1. As expected from Penon, excellent tonality
2. One of the best BA bass executions out there
3. Clean yet lush midrange
4. Zero fatigue and sibilance
5. Extremely comfortable and compact form factor
6. Substantial tweaking potential with tuning switches
7. Good accessory packageCons: 1, Tuning switches are very small and difficult to flip
2. Upper treble is not particularly extended
3. Decent but average staging and imagingDisclaimer:
I am an audiophile and a reviewer who works with Mr. @Sajid Amit of Amplify Audio Reviews. Amplify generally covers high end IEMs, DAC Amps and Headphones with occasional reviews of budget products. Check out our video reviews at: https://www.youtube.com/@amplifyaudioreviews
Penon Bass was sent to Amplify in exchange of an honest and unbiased review. You can buy the Penon Turbo at: https://penon-official.com/product/penon-turbo/
Preface:
Turbo is the second Penon IEM I have got my hands on so far. The last Penon IEM I tried was the Fan 2 which I immediately became a ‘fan’ of thanks to its beautiful tonality and technical prowess that punches way above the 290 USD price tag.
The premise of the Penon Turbo is an interesting one. It is a compact ‘basshead’ 6 BA IEM with tuning switches offering a broad array of tweaks. Basshead is a term I generally do not associate with all BA sets but trust me, Turbo’s bass might knock your socks off. However, I do not think that Turbo is a one-trick pony and there are a number of things other than the bass response that it does really well. Let’s dive in.
Specs:
Driver Tech: 6 BA, 2 Sonions for high frequencies, 2 Knowles for mid frequencies, 2 Sonion vented woofers for low frequencies
Impedance: 16 Ohms
Sensitivity: 103 dB
Cable:8 shares 19 cores OCC & silver-plated Mixed Braided IEM cable (sold separately at Penon website for 49.99 USD. Model name: CS819)
Price: 549 USD
Build quality, accessories, and comfort:
The unboxing experience was quite the step up from the cheaper Fan 2. Like the Fan 2, Turbo also comes packaged in a yellow cardboard box. Inside you are greeted with a very high quality and spacious soft zipper case with Penon branding, 3 sets of color-coded ear tips (S, M, L sized), a metal shirt clip, a leather cable tie, a little leather pouch for storing the ear tips and a cleaning brush.
Build quality is solid. Turbo is made of translucent green resin therefore the innards are clearly visible from the outside. Despite being jampacked with 6 drivers and tuning switches, it is remarkable how compact the Penon Turbo is. The size of it reminds me of another fantastic basshead IEM from Singapore, Fatfreq Maestro Mini. The stock cable is extremely pliable, lightweight, and comfortable to use.
Comfort is exceptional as expected from a compact resin IEM coupled with a flexible, lightweight cable. Fit was super secure and I barely felt they were there during the whole time I was listening to them.
Sound:
Turbo is a bassy set but in typical Penon fashion, tonality has been given the highest importance in its tuning. I cannot stress enough how full and organic the vocals sound on this IEM. I would even say that vocals are a clear step up from the Fan 2, which already does midrange and vocals very well. There are 4 tuning switches in total. My major gripe with the switches is how small they are. Turbo being a super compact IEM makes flipping the switches quite the challenge. The switches increase bass to varying degrees. You can go full psycho and give the turbo a whooping 18 dB bass boost or sit comfortably in between with a sizeable but not overdone bass lift. Although I was more than happy with the default bass tuning (AKA balanced setup) it is always nice to have options.
The bass is not what I expected from an all-BA set. It is authoritative, rumbly, and textured. I still find the bass presentation to be distinctly different from basshead single DD or planar IEMs though. The overall bass tuning is tilted more in favor of sub-bass (the complete opposite of midbass-focused Fan 2) There is a limit to how good BA bass can sound and I think Penon did a fantastic job. On default switch setup the bass remains well controlled and does not bleed into the lower midrange. I did not like the turbo boost mode as much as the bass became too intense and kind of overshadowed everything else. Maybe that is what the devout bassheads will like and appreciate.
The midrange performance of turbo is some of the best you can get in the 500 USD range. Both male and female vocals sound clean and accurate with no odd upper midrange suck-out or glassy overtone. I personally detest the trend of tuning the midrange thin in pursuit of supposed clarity but fortunately, Penon continues to avoid that route contrary to many of its Chi Fi compatriots.
Treble is where the Turbo takes the back seat, especially in the upper treble. It falls off sharply past 10k and not much treble information can be perceived beyond that. There is zero hint of sibilance or harshness in the treble region but if you expect a lot of air and upper treble energy then Turbo might slightly disappoint you.
Technical performance of the Penon Turbo is competent enough but not price-class-defining. The soundstage is intimate as expected from an IEM with bass emphasis and tame treble. I find the overall stage to be more elliptical than round-shaped as stage width precedes both height and depth. The soundstage is also significantly affected by how the tuning switches are set up. I found Turbo to be the widest in its stock switch config. Stage depth lessened with bass boost but width remained roughly the same. Separation and imaging performance were decent but not extraordinary. If you need dead accurate, pinpoint accuracy then IEMs like Sony IER M7 or Flipears Aether will be more fitting options (both have studio monitor ‘esque signatures though therefore can be perceived as boring). Detail retrieval is decent but left me a little bit wanting at times. Dynamics and speed are commendable, especially for an all-BA set.
Comparisons:
Dunu SA6: My general complaint with the SA6 is its subpar bass quality and Penon Turbo completely annihilates it in that regard. I find the turbo quite a bit better overall as far as tonality is concerned. SA6 does microdetail and treble extension better but not by a whole lot.
Flipears Aether: Aether is way more technical and has an expansive, cavernous soundstage. It is the better IEM both technically and tonally (also more expensive) but falls behind in dynamics and bass quantity.
Penon Fan2: Both are warm and bassy IEMs but Fan2 goes for a midbass heavy bass presentation while the Penon Turbo favors sub-bass. Turbo does midrange quite a bit better as well.
Sennheiser IE 600: IE 600 is way more V-shaped and significantly more intense in the treble region. I find the IE 600’s bass to be more tactile and fun but the treble can be too intense at times.
Conclusion:
Turbo is yet another well-tuned basshead IEM from Penon Audio. 500 USD range is an extremely competitive one and forging a distinct identity in that range is not an easy task. I believe Penon has pulled it off successfully and Turbo gets an easy recommendation if bassy, safe tuning is what you are looking for in the semi-kilobuck range.
