Reviews by Ceeluh7
BGVP PO5 Review
BGVP P05
Intro
Hello this is my full written review of one of BGVP‘s latest single Dynamic Driver earphones, the BGVP P05. I want to thank HiFiGo for the opportunity to review this set in exchange for a full review and feature at Mobileaudiophile.com. To be honest (as always) this is one set that I was looking forward to getting a closer look at. I saw the promotional images with the internal cavity and the internal pressurization arrows coursing through the front and back internally and I gotta say… That was enough to hook me. Of course, I am pretty easy these days. I’m just a big kid and these are my toys, aren’t we all?Anywhoo, the under $60 market is huge in the Audio scene. Truly an ocean of iems fight to keep their heads above the water. I personally have always enjoyed this price point (around $35-$60) as there is a ton of competition and price to performance is becoming ridiculous. Look at some of the sets we’ve seen over the course of the last couple years, it’s been a bloodbath! One after the other and many of these iems are very well tuned. In fact, we are beginning to sound like broken records. So much so that BGVP had to go and add, not just a set of Nozzle filters. No, that would be too easy, too commonplace. Instead, they threw caution to the wind and decided to add in some backside ventilation filters as well! Did anyone tell BGVP this is supposed to be an under $50 iem? We may want to get on that. That’s BGVP for you though, here’s a small snippet about the company…
BGVP
Founded in 2015, BGVP is a name that many audio enthusiasts will likely know, and many have also likely tried out or even owned a set or two from them. BGVP operates at many price points specializing in earbuds, earphones and other electronic products from the casual hobbyist to the professional performer. Headquartered in ChangPing in Dongguan City, BGVP conducts their own research & development and creates their products from their own engineering team which ultimately helps the consumer as BGVP boasts excellent earphones in every price point. Now, they’ve had some duds. I think we are grown enough to admit that. In fact, BGVP needs a good win if you ask me. They just haven’t been a big player over the last year or two. So, it is very good to see them doin’ their thang again. A good BGVP is good for the hobby.As I said, the price that the P05 rests at ($45) is an extremely competitive price point and by the looks of the P05 and the tech involved it’s quite easy to see that my words ring true. A few years ago, you could never get a set built this well, with both vent filters and nozzle filters under $150. Times have changed very quickly my friends. I suppose I have to find out whether these filters are gimmicks or if they actually change up the sound. I’m also very curious what route BGVP took with this tuning. I suppose that we shall see. Well friends, I’m ready to jump into the review, the BGVP P05 everyone…
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
I was actually very impressed by the unboxing experience while opening the fairly large sized box of the P05. The P05 opens up and you’ll straight away see the cool looking P05 staring back at you along with the eartips and the case, as they are all arranged in the same plane while seated in foam cut-outs. Friends BGVP truly offers more than most audio companies as far as accessories goes. I would liken this unboxing to at least a $100 earphone. Inside the zipper case you’ll find the small plastic case of filters as well as the cable. Truly a nice thing for those who can barely afford the P05, as they will be getting an assortment of tips (I’ll cover next) and some very nicely laid out extras. Great job BGVP!
Eartips
It isn’t that BGVP offers a million tips, although seven pairs are very nice at $45. It is the quality of the tips which I enjoy and like to see. BGVP provides three pairs of “Bass” tips (S, M, L), three pairs of “Vocal” tips (S, M, L) as well as one pair of memory foam tips.
I do have to mention one thing, I think BGVP must’ve packaged the actual tips backwards as I found the Vocal tips to be darn near identical to the KBear 07 tips, I mean… identical. The Bass tips are actually shallow fit wide-bore tips… Hmm. I can promise at least the “BASS” tips are not correct because shallow fit, wide bore, flimsy flange… does not translate to more bass. Perhaps they could’ve named these the “Treble” tips. I’m thinking they got that backwards. I’ve been in this game quite a long time and tip rolling is one of the most important aspects of my journey. I can tell you straight up that wide bore, flimsy flange, shallow fit and flimsy stem don’t add up to bigger bass… Usually. Just for clarification I checked multiple times and most certainly the bass is bigger in the 07 style tips that they offer. A punchier & deliberate bass can be felt with a touch more gusto.
Nice Tips!
Now, the KBear 07 or BGVP 07 tips will help in the mids to upper mids as well by bringing the midrange a hair more forward, so I could see them calling these “Vocal” tips I suppose. However, that isn’t all that they do. The 07’s will add a crisp punch to the bass region and in some cases add emphasis down low. Still, very nice tips that are very useful. This is in no way a complaint. In fact, I applaud BGVP for offering as much as they do and for the quality that they provided at this price. I happily used the KBear 07 style tips and believe they bring out the best in the P05 for my tastes, as far as the included tips are concerned anyways.Cable
The included cable is an MMCX, 3.5 single ended white (almost opaque) colored two strand 6N OFC (Oxygen Free Copper) Silver-plated cable with multiple layers of shielding. The included cable is very slim, very light, and very easy to work with. This is not some fat, heavy and thick cable, which I assume was done on purpose. The P05 are extremely light and so they needed an extremely light cable that won’t pull on the P05. Also, since this set can be worn “cable-down” as well as “over-ear” I do believe it was a strategic cable addition. Honestly, it’s a decent cable. For any single ended usage, it’s perfect. Despite that, for use with any of my balanced sources I did swap cables for the KBear 8-Core Silver Plated Copper cable cable which you can see pictured in some of my shots. Really it is a perfect cable for these purposes. I’m an over-ear guy.
The included cable is not microphonic as I don’t hear the cable rubbing on my shirt. I enjoy that the cable that BGVP provides will also very easily wrap up and not become a spiderweb of cable mess the second I take my hand off of it. These are the small things that I really appreciate friends. So, the included cable serves its purpose and does so strategically. You won’t even feel this thing.
Build / Design / Internals / Fit
Build Quality
The P05 reminds me of a few sets, namely some from the Tin Hifi series like the TinHifi T2, TinHifi T2 DLC (in fact it’s almost identical minus the filters) and so on. Shaped very similar to those the P05 is a tiny set which is built from front to back out of CNC machined aviation-grade aluminum alloy. Thus, this set is ultra-light! Weighing in at only 3.4 grams the P05 truly is feather lite. However, because of the material this also means that the P05 is very durable, which can be easily visualized and felt when they are in hand. The P05 has a cylindrical body and acoustic cavity and a very nicely shaped build made by way of machining, polishing, sandblasting, oxidizing and fine carving. The entire body is built very well and for the price is one of the better builds out there.Two ways to wear em’
I realize I just spoke on this, but it bares repeating… one nice benefit to the build is that you can wear the P05 either straight down or over the ear. The Tin Hifi T2 and a couple others could also be worn both ways which is nice depending on how you like to listen. Like I said, I tried both ways, but I will always like the feel of the cable over my ear and a snug fit. That’s just me though, I’m sure some of you like the ability to wear straight down.
Design
I am a sucker for a set like this. So small yet so intricately designed. Straight modern angles, 90°, 45°, and clean looking. Personally, I feel the P05 is a freaking DOPE looking set! No question about it! The cylindrical look, the filters on both sides, the ultra-simple yet sleek look is so understated yet also such a class act. I love something that appears undecorated, unadorned, unpretentious and un-elaborate while at the exact same time is slick with trendy lines and a fresh-looking swagger. Did I go too far? Eh, who cares? I like what I like. The P05 was created well and yes, the design resembles some other great sets to a slight degree but if it’s good… It’s good.Internals
BGVP chose upon a patented 10mm single Dynamic Driver with a PU+Ceramic Diaphragm inside this cylindrical acoustic cavity. The internal acoustic properties which BGVP adopted are referred to as a sound loop system. It is a simplistic design as far as tech is concerned yet pretty complex in construction. As you can see in the pictures the acoustic cavity is designed to be offset by the filter system. I think it’s a cool design and I love the thought and care that went into it.
Tuning Filters
I will be brief in my explanations about these sound filters. To be completely honest, sound filters are usually a reviewer’s worst friend as they make the review process that much longer and more arduous. Especially for those of us who love to write our reviews. So, I’ll keep it simple which is probably the best way to go about it.
Anyways, BGVP decided upon two sets of Nozzle filters which they call “front cavity tuning tubes” as well as two sets of rear vent filters that are labeled “rear cavity tuning tubes”. Now, BGVP gives you two designed tuning methods involving both the front and rear filters. One tuning scheme is called the “Equalization Filter” using the red rear vent filter and the gold nozzle filter. The other tuning scheme is labeled the “Bass Filter” which uses the silver rear vent and the silver front nozzle. Leave it up to me to go with something entirely different for this review as I primarily used the silver rear filter and the gold nozzle filter. I just think this will give you the best sound, but I’ll let you decide what is best for you.
Silver Rear-Silver Front
Using this method will give you the warmest sound of all. The bass is lifted, and the treble is less emphasized. Please don’t confuse this with basshead because it surely isn’t. It is the bassiest the P05 can get using the included methods. Add in some narrow bore tips with a firm stem and you’ll get a decent bass from it. However, I digress, this setup isn’t bad, but I don’t get the air up top I personally enjoy. I’m sure many will like this setup as most definitely there is a sub-bass biased lift down low and honestly there is still enough air and treble energy for a nice sounding earphone.Red Rear-Silver Front
This is the least energetic style of listening of the bunch. You’ll hear a reduced bass region and a reduced treble region for probably the most balanced approach on paper. I don’t think that translates in real world listening though. Still a nice sound yet just a bit more relaxed I’d say. The bass really doesn’t have that firm boom to it with this setup and the highs are pretty tame. Not my favorite.Red Rear-Gold Front
This combination of filters will provide the most treble lifted sound of them all. Again, not my favorite. However, when I was listening, I was trying to decide if I’d like each sound if I couldn’t swap filters and each was a stick tuning. I still think you get a very clean sound with great detail retrieval with this setup. The bass lacks punch and boom and there is much less warmth with this setup. The sound is at its thinnest with this arrangement too. So, to answer my own quarry I would not enjoy a set with this combo. I’m not you though and possibly you’d love it.Silver Rear-Gold Front
This was the last combo that when I checked it out easily became my favorite of the bunch. What I like about this arrangement is that you get that bass end lift and boom with a nice punch and some good warmth. You also get the rise up top which adds needed levity to the sound for some decent air and technical abilities. This also happens to be the most V-shaped of the bunch, but I still probably wouldn’t call this set V-shaped if I were to label the sound. I just think this setup gives you the best energy, although the mids are slightly further back. Still, the mids aren’t very much recessed as it is so I’m not losing much. This setup happens to be what I used conducting my review.So, there you go; my generalized and very condensed tell on what the filter combinations will give you. I think BGVP did a nice job of creating a filter system which isn’t just a gimmick or a marketing tactic. As you can see the sound does change quite a lot. I wouldn’t say you are getting four different earphones in one, but you are at least “almost” getting two slight variations of two different earphones. Great job on this one BGVP!
Drivability
I realize these sections are probably of no use to most people reading but I add this section in to hopefully give someone a gauge on how the P05 or any set in any of my reviews will react to different gear. I purposely use differently tuned and totally different gear (if I can) to the extent that I can. In the case of the P05 I honestly don’t think it matters as much what type of gear you use as the tuning is one that adapts well to most sources. The sound isn’t hyper energetic, it’s pretty well dynamically balanced and closer to neutral than not. There’re no exaggerated and undue peaks up top that a warmer and lusher source could help with. The only thing that I think would make a pretty nice difference is if the source you use had a titch more low-end presence or coloration.Fairly sensitive
The P05 is rated at 34 ohms and a sensitivity of 105 db’s which makes them fairly easy to drive. However, if I’m comparing it to something like the Simgot EA500 for example, the P05 takes more power and actual volume steps to bringing it to volume. Or take something like the EPZ Q5 which jumps to volume a hair easier. It doesn’t require a ton more power than other sets in its price range, just a hair more. Still, it’s easy to see that the P05 scales both to the power of a unit as well as the auditory ability of a unit. Can it be used with underpowered sources? Ya sure. I can tell you this, I didn’t like it with my iPad, but I was able to get good volume with it. I’m assuming most of you have a dongle dac at the least and most any of those will likely drive the P05 just fine, I’m sure. At this price point you will usually see iems which can be effectively driven with weaker sources.
Mobile listening
Using the IFi Go Blu with 4.4 balanced was a treat as I was able to use the bass boost function (I know, I know it’s cheating). Yet even without the P05 sounded great paired with its CS43131 dac and nice amp section. The Hidizs S9 Pro actually was the best of my dongles in my opinion with the P05. The way it reacted with the S9 Pro’s ESS9038Q2M chip and resolving overall sound worked great and synergized nicely. The Moondrop Dawn 4.4 was also pretty nice, but I simply think the S9 Pro has a bit more energy down low for the P05. I used a few other dongle dacs (Fiio KA3, Shanling UA2 etc.) that I have at my disposal, but no others made sense to report on.Daps
Moving onto my Dap situation and something with more raw power and a higher fidelity source I used both the iBasso DX240 which carries a beast of a dac hip in the ES9038Pro and the Shanling M6 Ultra which also has a flagship dac in the AK4493SEQ chip. I realize much more goes into the sound other than dac chips but it’s nice to have some references to tonality and pedigree, so to speak. Anyways, the DX240 and the M6 Ultra performed very well. However, of the two I like the M6 Ultra a bit more paired with the P05. I just feel the warm resolve of the M6 Ultra synergized better. Not to take away anything from the DX240 as it is amazing for the price.In the end all you truly NEED is a simple dongle dac of decent power ratings. Nothing crazy. I would assume most folks in the hobby who are considering something like the P05 probably have some sort of a source better than a simple smartphone. Still, if a phone is all you have, the P05 can be driven fairly well. BGVP did a nice job on this set and most anyone can enjoy it.
Sound Impressions
The P05 is one of those sets which are all about cleanliness. The sound is polished for under $50 and very close to what I would call “Natural”. Despite that, it’s also not the most dynamic in presentation. Don’t expect a beefy V-shaped dynamo like you usually see at this price. Instead, the P05 is a pretty well balanced iem with good resolve for the price and a decent technical ability. I think the greatest benefit of the P05’s tuning lies in its tonality. There’s an engaging and organic quality to this iem. Not ultra vivacious, but in the same breath not at all flat or dull either. Tonally the P05 is closer to neutral (than anything else) without a lot of tonal coloration to the sound. Perhaps you could say warm/neutral as well. I would call the P05 a product of the “Harman era”, yet with slight variations due to the filter situation that you go with.Between the 20’s- quick overview…
What we have is quality over quantity as far as the bass is concerned. This is not even scratching the surface of basshead territory. It’s relatively tight, decently fast in transient response and moderately boosted with a decent punch to it. The midrange is not too recessed with males sitting a tinge behind females. I hear a nicely melodic sounding midrange. Also decently detailed as well. The treble is safe in my opinion, but it still has okay treble presence. There’s enough treble rise to elevate the spectrum and add some good levity throughout. Technically the P05 is better off than many in its price point as details are fairly easy to discern. Imaging is also very good.
Bass Region
Starting off with the low-end, the P05 is not a set that is going to really give bassheads the time of their lives. At the very most the P05 is moderately emphasized and has decent extension. Using the “silver-rear/gold-front” filter combo you can achieve an adequate thump and punch down low for most hobbyists. Using the “silver-rear/silver-front” combo will yield the bassiest sound of all due to raising of the sub-bass and the lowering of the upper-mid/lower-treble area. However, I’m speaking of the silver/gold arrangement which suited my tastes the best. With this combo I am actually quite satisfied with the bass activity as it really is a quality bass for the price. It’s snappiness over boom and speed over rumble. If a track has a bigger bass element, then the P05 can rise to the occasion and represent pretty well but won’t color the sound at all.Sub-bass
The sub-bass is actually pretty well extended into the lowest of lows in the silver-gold setup. There is some haptic feel to the sound listening to the track “Groove” by Ray Wylie Hubbard (a track I reference often in reviews) and kinda proves that what you feed the P05, it’ll try to emulate. “Abracadabra” by Young Thug was another surprise as there is some decent tactility, texture and rumble. Again, not the beefiest, but also… it doesn’t have to be. Not everyone wants some obese low-end activity. Some folks want to enjoy a tightly controlled bass which can use its agility to “dance” through some of the more complex bass arrangements or boom only when needed. I perceive a semi-tight transient attack from the leading edge through sustain for the most part. It certainly isn’t a slow bass. Note definition comes across fairly dense and compact yet with the faintest of fuzziness at note outlines down low. It sounds nice folks.Mid-bass
The mid-bass shares around the same emphasis but comes across less exuberant to the ear. What the mid-bass is able to do is come and go pretty quickly without clogging up the mix. You have almost no detrimental spill over into the midrange and really nice timbre in this region. Macro-details are very easy to detect and perceive. “Talk’N That crap!” is a flat-out BANGER from Killer Mike which shows off his effortless flow and this track absolutely requires at least moderate levels on plangent slam. While I wouldn’t say the P05 “KILLS IT”, I will say that the P05 does the song decent justice. However, this is only referring to rumble and boom. If we get into actual bass skill, nimbleness, dexterity and finesse in a budget single DD form than we’d have to look at other tracks…Mid-bass cont…
In comes the track “Dumdrum” by Django Django. There is a multitude of different bass slaps and bumps that move along at a very quick pace. What I love about the P05 is its ability to actually attack-decay-sustain with a nicely crisp and palpable leading edge, decent body and then release and move on, all the while two other beats are in the process of doing the same thing. Multiple basslines are no problem at all for the P05 and speed seems like it isn’t a concern. Let’s put it this way, the P05 has a more timberally accurate and organic bass than any BA set in this price range by far, yet the P05 speeds along with the same relative speed. Remember I’m talking about a $45 iem here so please keep your expectations in check.Downsides to the bass region
If I were to speak on some issues or subjective gripes; the most glaring issue would likely be the quantity of bass… for some hobbyists anyways. I imagine that some folks would want more of an emphasis in this region. Bass guitar doesn’t have that plump and guttural growl that we like all the time (depending on recording), kick drums fall a hair flat, bass singers come across a hint artificial without a very sonorous bass backing up the body of their notes. These are simply subtle nitpicks that added bass quantity would likely accommodate. Now, it truly isn’t as drastic as I think I’ve let on to but the P05 is a hint lite in this region. Certainly not basshead, in fact the P05 doesn’t even sniff Bass-Boi levels. In the end I would like to see some added warmth for the midrange, which is somewhat lacking, but I’ll cover that next. All things considered, the low-end is quite nice and very clean, very resolute, nicely detailed and able to keep up with most any complicated bass tracks.
Midrange
The midrange is one which has good timbre qualities yet come across a hint thin, especially in the upper midrange. However, this is not completely indicative of the mids as a whole. Truthfully BGVP did a nice job with this set as male and female vocalists aren’t too recessed for my liking and actually are quite pleasant to my ears. The P05 isn’t the most musical of iems yet at the same time they can really carry a nice tune. They are still melodic for what they are and the price they are being sold for. Also, the mids have good detail retrieval and good separation listening to non-complicated tracks. Imaging is also spot-on in this region to my ears.Lower-midrange
Male vocals are neither thin nor thick and kind of dance in the middle somewhere. Thus, they aren’t bad at all. Actually, a number of male vocalists sound really nice with the P05. “Flying Over Water” by Jason Isbell is a perfect voice for this set as his voice doesn’t need that richness of a warm replay. Some males however like Foy Vance in “Time Stand Still” almost sounds a bit hollow in presence. He has a bit of a gravelly texture to his voice which comes through great, but you lack the body to his voice. So, texture doesn’t lack at all in this area of the mix but if there was just a bit more warmth it’d be great. Of course, these issues are few and far in between as 85% of all males I listened to sounds fantastic. They sound resolving and crisp and pretty mellifluous.Upper-Midrange
The upper parts of the midrange are certainly more forward than the lower parts. Females come across pretty even keeled with a nice amount of vivaciousness. I hear very nicely composed tunefulness of female vocalists listening with the P05. Honestly, females usually sound beautiful with this set. Take the track “How Long Will I Love You” by Ellie Goulding. I mean, good Lawd she sounds wonderful on the P05. Such a sweet and melodious song deserves a set that can adequately replay it. In comes the P05. The inflection in her voice is so honeyed on the P05 as nothing is overdone, no real coloration to exaggerate the delicate serenading this woman is doing on this track. Females don’t have the most robust body to them but the flowery sound more than makes up for that.Quick cap: Midrange Instruments
Instruments in the midrange can come across just a bit unnaturally as far as the structure or the body of notes at times. However, tonally the P05 is spot on and closer to organic than they aren’t. The harmonics which come from strings mostly sound really nice though the initial fundamental note may be a bit dull. This is squarely subjective as I can guarantee most folks will never even pay attention to it. Percussion has snappiness and punch. Drums have a nice and hollowed kick with a wetted edge. Cymbals have enough vibrance to carry a well rendered “chisk” without coming across recessed, attenuated or too flat. Piano is also a hint thin for me in some areas of the mix. This thinness mostly shows up closer to the low-mids. All other instruments sound well separated, airy, and clean.Downsides to the Midrange
The issues in the midrange aren’t actually issues at all but more like subjective preferences which don’t perfectly align. As far as the actual sound there isn’t anything to complain about. Subjectively I’d like a bit more body in the mids. I could use more warmth which would really help this set to sound very natural. As it is they have a hint of artificial timbre in some areas. Of course, name me the sets that don’t in this price range. There is some slight sibilance in some prone tracks but not even close to the point that I’d label it a “con”. What you don’t get is any glare or shoutiness at all as the pinna gain has a decent rise and there are no negative peaks in the treble that would affect the midrange in this respect. Also, the mids are well detailed, clean but not sterile, musical enough to sound songfull and mellifluous. All things considered the mids are nice to my ears.
Treble Region
The treble is a bit laid back and won’t exactly bring the treble heads out of the woodwork. You won’t hear an ultra-emphasized treble region but don’t confuse that with bad or un-emphasized. The P05 still has enough of a lift to properly represent a nice balance across the mix. There isn’t that ultra-airiness & separation that I like to hear but they are musical, and they do carry nice overtones and tone color up top. Certainly, they aren’t dark, they aren’t flat, and they definitely aren’t peaky either. No saw blades here. You won’t hear a very punchy treble and the treble does lack some of that enticing treble bite. However, the most important thing is that the treble is coherent and uplifted against the rest of the frequency. I actually like the tuning here. It won’t win any awards for its treble energy & detail but in a blown-up view of the tuning as a whole… the treble is good at under $50.Decent Details
I hear average to slightly above average detail retrieval up top with a smoother overall body to notes. There is some crispness but that is mainly an artifact of certain recordings. Mostly the treble remains smooth and probably not as separated as some would like. On more congested tracks there is a hint of blending of sounds up top. However, on less complicated songs the P05 actually is able to bring out some of the subtleties in my music, or some of the finer details. It really all depends on how complex the song is and the quality of the recording.Solid at its price
Listening to Billy Strings in “Secrets” the P05 actually does a nice job of keeping up with the breakneck banjo play of this band. It nails the timbre and musicality of this track too. Technically there are a handful of sets that may perform a bit better in the price point. Maybe? Be that as it may… for me… “timbre and tone” trumps “technicalities” every day of the week. The beauty of the P05 is how everything comes together as a whole. The treble in and of itself isn’t anything that will blow your mind, but step back and look at the treble placed alongside the rest of the mix.Downsides of the treble region
The downsides have pretty much been laid out already, but I’ll remind you… There is an emphasis in the treble, but simply not enough crisp bite to add to treble note definition. Also, it isn’t the most separated treble region I’ve ever heard, but still good in the overall picture.Understand, I usually wouldn’t even bring some of this stuff up, but I do believe the P05 is a very well-tuned iem at its price point and has the potential to be a top 3 under $50. The truth is, most iems in this price segment do the exact same thing and all struggle in similar ways. They are under $50 iems! It’s a give-and-take situation my friends. Still, if you are looking to purchase a set in this price region I wouldn’t get hung up on these slight drawbacks because the P05 is a very well done iem.
Technicalities
Soundstage
The stage size is about average all the way around. There isn’t anything at all claustrophobic or congested about the stage size and the stage mostly is pretty well separated. I don’t have anything bad to report here but also nothing stands out as “Grand” in size. The stage is what you should expect… It’s good, it’s average & it’s appropriate to the music. There’s average width left to right, average height and there’s some depth too. It helps that the sound is more balanced and not as bass dominant in this regard because the sound isn’t as thick and congested as it possibly could be. I think the stage size is just fine and without anything to really complain about.
Separation / Imaging
The BGVP P05 is odd, in that different areas of the mix render slightly different results for me. As far as separation is concerned anyways. I feel the bass and midrange sound a bit more distinct and delineated between elements of the stage. Not that the treble is an issue, but it may not be as defined as the other regions. Imaging is very nice. I feel left to right is easy to pick apart individual Instruments providing the song isn’t too complex. I do have many complicated tracks in my “congested” Playlist that the P05 fares pretty well with, but when you have a lot of commotion going on things begin to smear a bit. Anything other than that is great. Layering is about average, not bad but not earth shattering.Detail retrieval
I’ve pretty much already beaten the details category to death in this review, but I’ll dive in once more. The detail retrieval is not a glowing “pro” of the P05’s auditory game but it certainly isn’t a “con” either. I found the bass to illuminate nice macro-details and the midrange does have a well detailed sound, both in the macro sense and when you look at the finer stuff in a track too. The sound is very well balanced and so naturally this is a benefit for detail emergence. The sound has nice resolution with good note definition in most areas and the stage isn’t cramped. That is a good recipe for some decent details. This won’t blow your mind but for the price the P05 can extract the minutiae very well.
Is it worth the asking price?
This question can usually go one of two ways. Like any set. The answer will always depend on your personal opinions and in this case “my” personal opinion is what I will be exploring. Furthermore, I do need to preface this section by also stating that the P05 will not be for everyone. Anyone who needs a thick and hearty rumble that warms surrounding frequencies will want to look elsewhere. Those who desire a set with energetic and full macro-dynamics and good extension both ways may want to keep looking elsewhere. For those of you who love a sprightly and detailed, crisp and punchy treble with good haptic feel to it will want to keep looking. You may be asking, “well what’s left”? I would answer you… “Quite alot actually”!The Why…
The P05 has a lot going for it. I mean, look at it. If there already wasn’t a multitude of TinHifi iems with the same basic body style & structure, then the P05 would be one of the more unique sets in the price point. One thing is clear, it is certainly one of the best built iems, with one of the most complicated acoustic cavities and also… This set has both nozzle and vent filters!! That’s bonkers!! What other audio brand is that much of an overachiever at $45!? The design language is slick and modern, and everything works as intended. Sonically the filters actually effect some change and do so very well. The build, look, and functionality is all closer to “top class” in the price point in my opinion and I say that without breaking a sweat.Where the real money’s at…
The place where the P05 earns its salt is in its ability to reproduce my music. Who’da’ thunk it? I love a nicely balanced set, and this is the P05’s calling card. I also adore an iem that has good natural air and separation between instruments as well as good timbre. Again, the P05 nails it. In fact, timbre and tonality are likely its greatest asset and feature. Never mind the filter trickery… It’s all about the music. I really enjoy a clean sound as the P05 is a great change of pace type set for any collection. Especially against some of the warmer, bassier sets that we see so often anymore.Let’s face it though, there are plenty of good to great iems in this price point and it isn’t some open-shut case with where the P05 stands against the competition. However, the question is whether the BGVP P05 is worth the $45 that they are asking for. Friends, please hear me, if what I’ve described sounds appealing to you; this set is an absolute no brainer at the price. Unless of course you need, want, and desire a heavy bass region or a super airy and bright treble. Those are the only caveats that I can tally. And honestly the treble is actually pretty darn good. Truly BGVP did a phenomenal job in the craftsmanship, design and the tuning of the P05. Of course, it’s worth the asking price.
Competition
The question you have to ask yourself is if the P05 is worth it next to some other sets that are true bangers in the relative price point. Sets like the Reecho SG-01 Ova, Simgot EW200 (Mahir’s EW200 Review HERE), Tin Hifi T2 DLC (Mahir’s T2 DLC Review HERE), EPZ Q5 (Q5 Review HERE), KZ X-HBB PR2 (PR2 Review HERE), KZ Duo (Duo Review HERE), Kiwi Ears Cadenza (Cadenza Review HERE) QOA Gimlet (Gimlet Review HERE) Fiio FD11, Fiio FH11 (I’ve yet to listen to the FH11) among many others. There are many many more not mentioned. Let’s also not forget about those sets which cost just a little bit more too. So, the competition is fierce and audio brands really have to have their fingers on the pulse of the community. They also need to really listen to hobbyists to compete anymore. Take the feedback and get better. Especially between $35 to $55! However, in the grand scheme of things, there isn’t a lot the P05 does wrong, and it has all the other intangibles to be a great set. 100% worth every penny. Nice work BGVP!
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the BGVP P05 ratings below, that would be $35-$55 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $35-$55 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.4-Look: 9.2
-Accessories: 9.2
–Overall: 9.3
Sound Rating
-Timbre: 9.7 The timbre and tonality are fantastic.-Bass: 7.4 It just needs a hair more in quantity, otherwise great!
-Midrange: 9.5 The mids are nice on this set.
-Treble: 7.0 Sounds great but could be a bit more polished.
-Technicalities: 9.4 Technicalities are well done for $45
–Overall: 8.6
Ratings Summary:
Looking at the ratings above I’m sure there are a few areas that would behoove me to explain myself a bit. The first is the bass region. I gave the P05 a score of “7.4” against any and all iems ranging from $35 to $55. Is that fair? I went about the “Bass Rating” taking the unexceptional quantity of the P05 bass into account, rather than simply Rating the P05 bass on its quality alone. As it were, I kind of “fused” the two disciplines. It’s the “quality over quantity” or vice-versa. Take every set I listed earlier into account and about ten others and that is the real pool of iems I’m considering. Remember this is all my own opinion based off sets that I’ve actually spent enough time with to even have an opinion.Summary cont…
However, you shake it “7.4” is pretty damn good considering all the other sets in that range. Anyways, if I simply graded the P05 on bass quality without any regard for the quantity or how that impacts every other frequency then I would likely give it around an “8.5 to 9.0″ish. There are about four other sets that carry better quality in my humble opinion. I’m telling you it’s an arduous process considering all that is out there, to give up an honest account of how I feel. Ratings are not fun.Next would probably be the treble category. Some may feel a “7.7” is a bit high due to the fact that it isn’t the most detailed treble, and it doesn’t have that nice treble punch and bite all the time. Being that a “5” is average. However, to me the P05’s treble is actually quite musical and just sounds… good. I would never go higher than a “7.7” as that is actually a very good score. Now that my mindless babble is over, I feel my overall scores are spot on because I’ve argued with myself for way too long over them. I truly feel that between all sets from $35 to $55 the P05 is every bit of the “8.7” sound Rating that I gave it, if not better.
Conclusion
To conclude my review of the BGVP P05 I have to say that I really enjoy this set. It grew on me over the course of the last month. If any of you are looking for a set in the price range, I really don’t think you can go wrong with the P05. It truly is a great iem for the price. I want to thank the good people of HiFiGo for providing the P05 in exchange for a full review and feature at Mobileaudiophile.com. Hifigo has been a constant place to find items within the hobby and they are as professional as it gets as far as company reps are concerned and really make the entire process very easy. So again, thank you.Friends, please take in other thoughts about the P05 prior to purchase. Not that I don’t trust my own opinion but because it is just that… an opinion. Subjective objectivity. Also, we are all different and this ranges from music taste, gear, auditory preferences, even our hearing abilities may differ. So please do yourself a favor and check out other thoughts about this set. I do have to also add one of my partners, Pietro, reviewed this set at the website already as well and you can see his full review HERE. Thanks for reading folks, I hope it helps. Take care, stay safe and God Bless.
EPZ Q5 Review
EPZ Q5 Review
Intro
Hello, this is my full review of the EPZ Q5 which comes fresh from one of the newer up & coming audio brands… EPZ. If I’m being completely honest, I knew very little about EPZ and frankly didn’t really know that they created as many products as they have. Apparently EPZ is quite well known in China. Well, here in the States we don’t always get the latest and greatest within the audio game. I saw that the Q5 was on sale and was able to pick it up for the low cost of $45-$47.EPZ
Located in Shenzen China, the original company was actually founded way back in 2008! That took me by surprise. They specialize in R&D, 3D Resin printing of both universal and custom high-res earphones & true wireless, among other ventures and specialties. Apparently, they have their own independent R&D team and production towards micro-speakers, military earphones, and work closely with many well-known brands for production, supplying finished designs as well as acoustic components. Their team has many years under their belt and expertise in acoustic structure, acoustic device selection, calibration and tuning as well.However, it wasn’t until 2019 that the audio brand “EPZ” was actually founded & established. Since then, they have been really doing a fantastic job by the looks of their website in creating unique designs, all 3D printed and gorgeous in my opinion. This is a very condensed view of a company which has been in this game for quite some time and now I am very interested in learning more about them.
Similar but not the same
I do have to add one little blurb before I move on. It has gone around the audio community that the Q5 has stolen the design of the Meze Advar. I just want to squash this ridiculous gripe before we move on. Basically… I don’t care and really it doesn’t matter much. This is a very common occurrence to which if you are actually paying attention happens all the time. The truth is, it’s a good design friends. Also, it isn’t exactly the same, just similar in many regards. Actually, it’s pretty darn close… Lol. Still, it’s different enough to easily overlook. Also, again… I don’t care, at all. Okay, can we move on now? Oh, one more thing, I wouldn’t write any of that if the Q5 wasn’t a very nice set. Let’s just get that out of the way and get on with the review. The EPZ Q5 everyone…
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Fiio UTWS5 / Ifi Go Blu / Shanling M6 Ultra / iBasso DX240 / Hidizs S9 Pro / Moondrop Dawn 4.4
Gear used for testing
–Fiio UTWS5–Ifi Go Blu
–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
I have to say, EPZ gives a pretty damn impressive unboxing for $50! I mean, the box alone is impressive. At first, I was wondering how to work it to even open it all up. Thankfully I stepped back before I gorilla-tore the whole thing up. So, the box itself is very impressive as you open from the inside out by pulling both inner halves outward. This will bring the underneath contents to the forefront. Very cool and ridiculously unique at these prices.The box is rather large, black and has golden colored writing with a cool looking design (see pictures). Inside you’ll see the slender box containing the reading material with the phrase “Five years of prosperity and glory“. This obviously alludes to the five years that EPZ has been an audio enterprise. Next to the earphones you’ll see the earphones themselves in cardboard cut-outs along with the case underneath that. Inside you’ll see the eartips as well as the cable. Under the earphones there is a smaller box with reading material and a plastic baggy containing a nice cleaning cloth. All in all, the unboxing is much better than I would have thought at this price. Definitely a “pro”… Nice work EPZ!
6.6x
6.6x
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Eartips
Included are two sets (S, M, L) of eartips. Both sets are of nice quality I would say. One of the sets is a head scratcher but still nice. I’ll start with the head scratcher. These tips are some ultra-tiny black silicone tips that feel very soft to the touch. The black tips have a semi-wide bore and have an odd shape. They are shallow fit eartip with a flat face to them, or a blunted face. The flange is decently firm, but I wish EPZ would’ve added some larger versions of these tips. They are very small. The other tip set is a white silicone tip with a semi-wide bore, firm stem, & firm flange. It’s much like KBear 07 tips and are actually quite nice. I use the large size white silicone tips and I feel they do well with the EPZ Q5.
However, after many rounds of going through every eartip in my collection I found some that work. I actually ended up using the KBear 07 large yellow tips. I simply couldn’t get a perfect seal with the white silicone tips without playing with them and fiddling around with them for a while. Using the 07’s I got a seal right away. I just felt the need to bring that up.
Cable
The cable that EPZ added to the accessory count is a very elegant cable. It is also pretty thin and light with a glossy white color and golden accents on the hardware. Truly a gorgeous little cable. There isn’t much info regarding this cable other than its a 1.2m MMCX Silver-plated Copper cable. Certainly, this is a great cable for stage purposes. It’s very lightweight and won’t pull on the earphones during use. Also, the sound is great with it, and it looks very nice attached to the Q5. However, I decided to use a different cable for balanced purposes. The cable I chose is a 4.4 Balanced FAAEAL MMCX cable which is 4-Cores of OFC Copper. It’s really pleasant looking paired with the Q5 with its nicely braided cloth covering. Perfect for use with balanced sources and looks dope with the Q5 attached. What’s best is the sound is great with the FAAEAL cable.
Build / Design / Internals / Fit / Drivability
Build Quality
The Q5 resembles a nicely ergonomical iem for stage purposes as they’re perfectly built for the human ear. Made completely of “self-developed” skin friendly resin by way of 3D Printing. You’ll notice the trend of “self-developed” when referring to EPZ’s earphones. EPZ actually develops much of their products in-house and they provide the patent #’s as well. The build is very solid friends. EPZ did a very nice job of creating earphones which don’t feel cheap or weak. Instead, they have a robust feel to them with very nice faceplate areas which I’ll explain later. The nozzles are made with a nice bronze colored alloy and finish with an all-metal grill. The nozzles are of medium length as well. I’m impressed by the build.
Design
Now is where we get into the weeds a bit. I’ve already mentioned this, but I will again. Many on social media have commented on the distinct look of the Q5. They happen to resemble a very popular iem, the Meze Advar. Let it be known that… I could care less. Truly. This is a common occurrence in chifi as this wasn’t the first time an earphone resembled another. Also, it certainly won’t be the last. Who cares?! Okay, for the second time… Moving on.Anyways, the look is pretty dope. The Q5 has that tight fitting design that sits perfectly in the ear. All black except for a very slick looking golden faceplate which features a concave alloy circle which has a vent port in the middle and “EPZ Audio-Started in 2019” imposed around the vent. The contrast is awesome, and the look is all class. Really a well-designed unit that looks good on the ear. No, it won’t win any design awards but it’s nice. Again, good job EPZ!
Internals
During the process of review, I have come to really respect this company. They develop many of their own materials and the Driver is no exception. In fact, under Chinese utility Patent #: CN201920080514.0 you will see that they developed this driver in-house. The Driver in question is a 10mm Ceramic Carbon Nano Dynamic Coil with a Dual-Cavity & Dual Magnetic design. By all accounts it appears that EPZ knows what they are doing. I find the driver to be of good quality. You don’t hear any distortion or weird artifacts in the edges of music. Again, this is a dual-cavity design which was 3D printed using both resin and metal materials.
Fit
The fit is flat-out great. At least for me. Of course, I have to imagine that the Q5 would likely fit the great majority of hobbyists quite well. The shape alone is perfect to sit inside of an ear and does so very snuggly. Isolation is also very good with the Q5 in my ears. Obviously, this may not be the same for you. So, speaking for myself, I have zero issues at all with isolation, sound leakage or fit. Really EPZ nailed this design and build.Drivability
I honestly didn’t have a problem driving the Q5 with any source I used. With an impedence of 26 ohms and a sensitivity of 109 dbs; driving them is really no issue. Perhaps my iPad was a bit weak, but it still drove this set well. Even using the Fiio UTWS5 with MMCX adapters I found the driving power to be more than enough. Listening with the Ifi Go Blu was a treat for my ears as they have nice synergy. Not that lesser powerful sources are bad sounding. It’s just that the Q5 reacts great with the warmer and more lush presentation of the Go Blu making this pair fantastic for mobile listening. Especially using 4.4 balanced.
Dongle Dacs
As far as Dongle dacs are concerned I really think everyone should give the Moondrop Dawn 4.4 a chance. Boy does it sound wonderful with the Q5 and truthfully it sounds pretty great with anything attached to it. Truly one of the highly underappreciated dongles. I find the synergy between the Q5 really matches well with the Dawn which uses the Cirrus Logic CS43131 dac chip which also happens to be the same chip within the Go Blu. I used the Q5 with a couple other dongle dacs and had somewhat similar results, but the Dawn certainly brought upon a great listening session.Daps
I would have thought that the iBasso DX240 with its amazing ES9038 Pro dac chip and the iBasso Amp8 Mk2 attached would’ve melded better with the Q5, but I did hear some slightly processed timbre up top for whatever reason. So, pairing with the Shanling M6 Ultra was easily my favorite listening method for just lounging and soaking in the music. That velvet chip, the AK4493SEQ is a flagship level chip that is utterly smooth yet completely resolving which is perfect for the Q5. Also, more power seems to bring out the best in the Q5, though it isn’t required.In the end
Like most sets, a little more juice helps (to a degree) but like most sensitive iems in this range it isn’t necessarily needed and there is a power-cap to what you will hear. Using a moderately powerful dongle dac is perfectly fine. In fact, I’m sure most mobile phones would do the trick so long as they have at least a decent level of juice or driving power. If the Fiio UTWS5 can drive this set well at 50mw @32 ohms than I’m sure most any dongle will suffice. Still, if you can get your hands on a nicely organic dongle like the Dawn 4.4 then you are in business and also in for a treat.
Sound Impressions
Note: I just want to preface this entire sound impressions portion of the review with a few things. First, I burned the Q5 in for roughly 50-60 hours. I don’t always hear a valid difference, but for this set I certainly did. The upper mids had a slight glare prior to burn-in that was all but gone after. I kept checking periodically with the same song (as I do) and the moment I noticed the sound leveling out I stopped the process. Also, I primarily listen using flac or better files which are stored on my devices. I usually listen using UAPP but sometimes with Hiby Player and I do occasionally also use Poweramp as well. Condensed Sound report
Now this is where the Q5 earns its stripes folks. Of course, the Q5 will not be a favorable tuning for everyone, let’s just get that out of the way. Still, I do think that anyone who is a fan of a more airy and transparent sound will likely enjoy what EPZ has created in the Q5. What I hear is a mostly U-shaped sound and some may even consider it to be W-shape to a degree as well. One thing is for sure… EPZ knows how to tune a set of earphones with very nice tonal qualities. The timbre is pretty nice as well, though not completely organic, I’d call it “off-natural”. There are slight timbral issues within the midrange, but they are peanuts in the face of the overall tuning.Honestly, it’s very pleasant-sounding earphone to my ears with a “technically musical” sound in that the Q5 does have a sense of musicality while not skimping on the finer details. In fact, the technicalities are very well done for a single DD at this price. You have an energetic sound with an unfatty, yet rich note weight and slightly thinner but also full macro-dynamics. I realize these descriptions sound dissimilar and contradictory, but I sat for quite a while trying my best to explain what I hear, and I stand by my words. Let’s put it this way, the sound is certainly not dull, thin, or dry to my ears, but it also isn’t super thick and warmly weighted.
Between the 20’s
As far as what I hear between the 20’s; I happen to really enjoy the sound of the Q5 in each 3rd of the spectrum, though each 3rd also has some subjective qualms. Predominantly, the bass is tight and brisk with a punchy and nimble type of dynamism. This isn’t an ultra-guttural or ultra-deep, dark or ultra-bellowing type of bass but there is nice density and texture. The bass certainly isn’t devoid of presence as I don’t feel it lacks at all to my ears. More mature than basshead but also not bass lite. The midrange has a forward and ubiquitous presence for both male and females. However, there is the slightest tinge of that processed metallic sound at the note outlines of more energetic passages of music. This is more a rarity and not the norm. For the most part vocals come across sounding nicely represented. The midrange has nice detail retrieval and great transient speed as well with good separation. The treble has pretty nice clarity and also offers a nicely detailed replay with good note definition and a smooth overall body. Not the most pinpoint yet still has decent bite up top.If this is all the further you read just know that the EPZ Q5 is not a basshead set, not a treble head earphone, and it isn’t entirely mid centric either. Instead, the Q5 strikes a nice balance across the mix and doesn’t entirely favor any one area. Closer to neutral than anything with some shades of warmth, the Q5 has a breathable sound with air in the mix. Macro-dynamics aren’t going to blow you away but the Q5 still comes across musical while balancing its very well composed technical abilities. This set sounds nice folks.
Bass Region
The bass is altogether tidy and pretty stout & not at all overly boosted. You won’t feel the Q5 bumping in the backs of your eyelids. It isn’t made for that type of fun. That said, the Q5 isn’t without some thump. It just hedges more on the side of speed and punch. Clearly the bass is not the focus on this set and clearly EPZ wanted a bass that did its job and got out of the way. For instance, you won’t hear this bass muddying up the midrange. In the same breath you also won’t feel some instrumentation the same as some more emphasized sets down low and won’t get the same fullness of notes as some sets. I feel it’s a nice trade-off but that is just me. If we are simply talking timbre in the nether regions, then I’d say that the Q5 is well to do. There is an evident distinction between sub & mid bass with a layered and macro-detailed approach. Sub-bass
The sub-bass is definitely the focus of the low-end tuning, but it isn’t 100% evident through listening all the time. Listening to the track (that I always use) “Groove” by Ray Wylie Hubbard, I certainly hear a dense enough drone to the bassline which carries this track. It’s decently weighted and there is some haptic feel that is rather nice. Understand that this isn’t a bass that is over elevated. However, I’ve read reports that this is a very light bass. Friends, I really don’t hear that. It just isn’t an ultra-thick Bass-Boi caliber low-end. It’s actually very well emphasized in a mature way. “2040” by Lil Baby & Lil Durk flat out bumps with the Q5. It hits very well. No doubt about it. Granted this track hits hard with most any set, but still… the Q5 certainly doesn’t lack in sub-bass authority and tactile rumble. Again, it isn’t the focus and I think it’s paramount that we understand the distinction before buying.Mid-bass
The mid-bass carries slightly less authority than the sub-bass, but I will repeat just about everything I’ve said in the “sub-bass” category. However, the mid-bass is slightly leaner with a soft leading edge of attack and quicker decay to my ears. Not at all hollow and not fuzzy either. Actually, the Q5 really doesn’t disappoint. I think you begin to see the slight lack in some tracks with some usually beefy bass guitars which may come across a hair less full on the Q5. Again, I think the trade-off is worth it though as the Q5 is tight enough to offer a punchy yet defined sound that handles quicker bass passages really well. Still, I don’t feel the Q5 lacks and on blatantly heavy bass jams the Q5 can rise to the occasion and offer some head-bobbing fun.“On Melancholy Hill” by the Gorillaz begins with an energetic bassline that comes across with moderate levels of oomph listening with the Q5. Not as assertive and swollen as some sets but the sound comes across very clean and prominent enough to carry this track nicely. Let me repeat that I am not let down with the bass quantity here. It’s simply not so protrusive and obese as some earphone’s bass. I enjoy that the mid-bass stays in its lane and lets the rest of the mix thrive without drowning the entire spectrum in veil or the inflated plump of too much mid-bass. “All My Life” by Lil Durk actually hits with authority on the Q5, straight out the gate. This track actually hits hard on most sets, but again, the Q5 does this Hip-Hop track justice with a nice boom.
Downsides to the bass-region
If I were to pick apart the bass region, the clear issue would be with bass head types who want that overtly dominant bass. The Q5 is not that but instead the bass is a part to a nicely tuned whole. Also, I would say that the Q5 could use a bit more concrete density whether it has an emphasized bass region or not. I could say that extension down low could be a bit more extended and robust but that is really a subjective matter for the listener. However, to counter all of that, the bass is not one-noted, it is fast enough for quick basslines yet atmospheric enough too. The bass can slam yet it gets out of its own way and works great for multiple genres.
Midrange
The midrange comes across pretty crisp with very nice resolution in that it has a clean note edge throughout the midrange, for the price that is. I feel that EPZ tuned the Q5 in a very open and clean manner without the slightest of veil and very nice energy. We have lush-lean & clean macro-dynamics. The sound has air to it. The midrange comes across mostly neutral with a hair more warmth toward the low-mids. I also find the midrange to have very nice separation between instruments and voices while having good note definition for the price. For the most part the Q5 is capable of producing clean vocals that aren’t super recessed and aren’t congested sounding either. Perhaps a hint too thin for some and if I’m really stretching, I’d say some slight metallic timbre in more energetic tracks in the upper-mids. Lower-midrange
Beginning with male vocals I think these can go either way. You’ll either enjoy them or not. Now, I’m not the type who needs ultra thick and weighted male vocals. It’s nice to hear but I can look past it so long as some measures are taken to produce a nicely highlighted and defined male voice. This happens to be the case for the Q5. The sound is mostly uncolored and isn’t really warm or thick in note weight but also…they aren’t thin either. Somewhere in the middle is where the Q5 resides. Thankfully the lower-mids aren’t hazy from bass bleed and don’t sound artificial either. On the track “I Still Haven’t Found What I’m Looking For” (U2 acapella cover) by Home Free I can quite literally hear every type of male voice. Baritones are firm and deep enough and tenors sound eloquent with a bit more levity to them. Both sound great and not thin or dry to my ears. They come across “lean-lush” to me.To be honest I find no real issues with males as I personally enjoy them listening with the Q5. There is a richness, even in the leaner note structure and the sound is actually close to natural as far as the cadence and dictation of a male voice. Perhaps on some higher pitched males within ballad type songs you may get some very slight coarseness or a metallic type of note edge, but this is in no way something that I’d label a con. Also, for the price this is not out of the ordinary. Honestly, I would probably say that the lower mids are pretty much organic in timbre. Most instruments in this area come across just fine without any exaggerated coloration to my ears.
Upper-Midrange
The upper-mids are basically where female vocalists reside, though this isn’t necessarily a constant. You will find female voices range across the midrange. On the Q5, for the most part, I find females more forward than lower-mid males by a pinch and there is more of a shimmer to most females. I find good note cleanliness which can sound soft and honeyed, yet just as easily come across symphonic or elegantly golden & resounding in ballad style tracks. “High” by Caitlyn Smith is one song which covers both. Her voice goes from softly feathery or even velvety as the track gains life to powerful and bold in the chorus section. At the same time there is a ton of commotion in the melody which surrounds her voice. The instrumentation is relatively clean with nice separation while the inflections and modulations in her voice sound very distinct and defined.Instruments in the midrange
Most instruments come across fairly naturally except those which reside closer to the upper-mid range, and it depends upon the instrument as well. Generally, the Q5 does a very nice job of recreating instrumentation. Also be aware that my comments about instruments using the Q5 are gross generalizations. So many things may impact the sound and alter your perspective including the type of music, quality of the recording, the source I’m using, heck even the eartips I’m using make a big difference. Again, these are very general blanket thoughts. This review would be much larger if I broke everything down further.I find piano plays well and sounds very tuneful and melodious when needed. Strings sound relaxed with nice harmonics to my ears though I could use a bit more of that sharpness and bite. Violin is a hint thin but also edgy and satisfying. Percussion has good punch & pang for stuff like snares, tambourine, timpani and cymbals which attack with a nice wet-edged clang & pap. The Q5 does percussion well in my opinion. Cymbals for instance, I don’t hear anything that comes across splashy or anything odd in timbre & nothing stands out as blatantly bad or artificial or glaring. It stands to reason that a more balanced tuning would have a better chance at a more realistic sound and the Q5 does that. There is some brightness and the Q5 could use a bit more mid-bass rise but in general the Q5 does instruments very well.
Downsides to the midrange
Some of the gripes I could see folks having about the midrange on the Q5 would be that it can come across thinner in body across the midrange than some may be used to. I’ve already expressed that I think the note weight is fine but I’m sure others may not always enjoy it. Like I said before, I find the Q5 almost “lean-lush”… if that makes any sense. Also, timbre may not be perfectly natural as you climb the midrange. Perhaps a hair more warmth would be a bit closer to organic but honestly folks, we all have different interpretations of what “Organic” or “Natural” is so… Just pretend I didn’t write that. I don’t hear any horrible peaks or glaring areas of shoutiness. I don’t hear any real pronounced sibilance either. It sounds nice.
Treble Region
Benefits the tuning
I find the treble region to really benefit the overall tuning of the Q5. It balances very well with the other areas of the mix while uplifting the entire spectrum. I wouldn’t call the treble extremely emphasized but it makes its presence felt and isn’t underwhelming. It isn’t emphasized in a “treble head” way or in an overtly “over-saturated” or “forced resolution” type of manner either. It comes off pretty naturally (there’s that natural word again) and easy on the ears while in the same breath there is some bite to treble notes and a forward presence. There is outstanding detail retrieval for a budget single Dynamic Driver iem. At the same time, it’s also not analytical or dry. There is some wet mixed in there, some tackiness, some bright punch and a good sheen to the upper portions of the mix. To keep perspective, we are talking about a budget set but based on other sets in the price point… EPZ did a very nice job up top.Air & Separation
The treble region has actual separation and air which permeates other areas of the frequency and like I said, it uplifts the rest of the frequency as well. Resolution is pretty good for what it is, but it doesn’t have perfectly knife edged definition as the overall experience is smoother than anything. There is very nice shimmer and shine which adds a different element to the sound. On top of that I hear pretty nice extension past 10k which can be heard in the secondary harmonics of cymbals which don’t come across splashy or tinsley. Trumpet sounds forward and pretty robust or full. Listening to electric guitar is not a wincing affair as the bite and texture in the sound is accompanied by decent weight to notes and not an ear-killer. However, as I said in the beginning of this paragraph, there is air and separation which helps these instruments to not sound like a fuzzy mishmash of treble sheen.Examples
I usually listen to Billy Strings tracks as his banjo play, fiddle, acoustic guitar and mandolin play can all resonate within the treble arena and usually do so at crazy speeds. Take either of the tracks “Ice Bridges” or “Secrets” (among many others, these are the two I mainly used from him) while listening with the Q5 and a decent source and I’m sure you’ll be pleased with the speed at which the Q5 is able to attack & decay at. Granted this is a single DD treble and won’t compete with the likes of some planars or BAs for speed but the combo of agility and timbre is pretty nice to hear. “Bishop School” by Yusef Lateef is another track littered with treble activity and for the most part the Q5 is able to replay everything with good separation and imaging while not blending sounds.What you won’t hear is anything truly harsh. I should say that I don’t hear anything that I consider harsh as there aren’t any undue peaks that throw off the overall timbre and tuning. You shouldn’t hear any really egregiously obvious sibilance either. For the most part the treble is pretty smooth in body. It’s crisp when it needs to be and is altogether a non-offensive treble… for me.
Downsides of the treble region
If there were some downsides, then I would say that some folks may want even less treble emphasis for a warmer overall sound. We are all very much different and I’m sure that there will be those who would like less brightness up top. Also, in more complicated tracks the Q5 can lose a little bit of its resolution but of course we should expect this. Honestly there isn’t much to complain about, the treble is airy, it sparkles at times, it isn’t too bright or fatiguing, it has a smoother overall sound, and it offers nice details. EPZ did a nice job.
Technicalities
Soundstage
Listening to “Hook” by Blues Traveler it is instantly noticeable that the soundstage of the Q5 has good width with a sense of space and openness. Certainly, above average in that regard. Height is about average I’d say (whatever that means) and there is some depth for layering. Overall, the stage is presented nicely with an open feel which is very well done for a single DD at this price. You have nice separation of elements in that stage, decent to good extension in all directions, with all the sound emphasis in the right places within the frequency to create a psycho-acoustic stage that doesn’t feel congested… at all. Even on complicated tracks I don’t feel the claustrophobia of a small stage.Separation / Imaging
Separation is very well done within any track that isn’t ultra congested. There are obviously limitations to any set, even the good ones. I’d say that the Q5 can handle more than most and can fend-off blending of sounds like instruments & vocals better than most. Again, you have a perceivably tight transient attack & decay, a clean and resolute sound, a good-sized stage and it isn’t the thickest note weight in the world. These attributes do help to add some separation of instrumentation while creating pretty nice distinctions providing the recording is of decent quality and the source is adequate. Imaging is the same, as everything (instruments) is where it should be. I would actually consider imaging a “Pro” of the Q5. There’s nice layering brought on by a nice depth of field, good width of stage and very good control for the price. Except in ultra busy tracks.Details
The detail retrieval of the Q5 is extremely good for a single Dynamic Driver earphone at this price. I have zero problem hearing the subtleties within my music. Both macro & micro details are able to become illuminated within this very well controlled replay. Whether it be fingers on an instrument, breath in a mic or the person coughing 10 rows back in my favorite live track, the EPZ Q5 does an admirable job at presenting those small details. The Q5 has a nice balance and there isn’t really any one frequency acting as the major. You don’t have bass covering over the mix or treble sheen cascading over everything else. Possibly in extra bass heavy tracks you’ll obviously not hear everything else, but honestly, who cares about detail retrieval in ultra bass heavy songs? For the tracks that really matter, or the tracks that generally attract those who enjoy the finer details… the Q5 will surprise some people.
Is it worth the asking price?
For the awesome sale price of under $50 (at the moment) and the MSRP of $77, the EPZ Q5 is priced very competitively to pretty competitively. In truth I don’t feel there are many sets which are similarly tuned that can outright render the Q5 obsolete. Obviously, if you enjoy a different tuning then this is a moot point and the Q5 probably isn’t worth it for you. However, for those who like a warm/neutral technically savvy iem with a penchant for musicality and a great balance… the Q5 may just be the set to get.Of course, there are quite a few iems within the price point that challenge the need for a set like the Q5. Sets like the Simgot EA500 (EA500 Review HERE), Fiio JD7 (JD7 Review HERE), Truthear Hexa (Hexa Review HERE), Letshuoer DZ4 (DZ4 Review HERE), Celeste Pandamon (Pandamon Review HERE) and these are just to name a few around the original MSRP of $77. Trust me there are many more. If we are talking about the sale price ($48) then this is a no brainer, I truly don’t think there is much competition around the $50 price point. Being that the price has been around $50 for a long time now, I think this is the price point to judge this set by. Also, obviously the Q5 will not be for everyone, and it does have some drawbacks but ultimately it is a good option among some of the better iems it is priced around.
The Why…
Why? Well, first off, the Q5 is a well-built iem that is very ergonomically shaped, featherlight weight with a very appealing and understated appearance that looks dope in the ear and will likely seat well in most anyone’s ears. The unboxing is really creative, and you receive nice accessories too. However, these are just figurative “Icing on the cake” because the true reason the Q5 is worth the cost to own them is that the sound is really well tuned.Nothing sounds exactly like the Q5 as the balance across the mix is great with a very organic warm/neutral sound that is just as musical as it is technical. Nothing is left out within this tuning as every area of the mix has representation. Detail retrieval is top notch for what the Q5 is, the soundstage is better than I would’ve expected, imaging is spot on, separation is great, it’s clean, resolute and nothing jumps out as offensive or fatiguing. There are things that could be better and subjective little gripes which won’t jive with everyone but as far as I’m concerned… the Q5 is worth every last penny. In fact, if you can… Buy two.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the EPZ Q5 ratings below, that would be $40-$80 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $40-$80 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 8.2-Look: 8.9
-Accessories: 9.7
–Overall: 8.9
Sound Rating
-Timbre: 8.9-Bass: 9.1
-Midrange: 9.1
-Treble: 9.5
-Technicalities: 9.7
–Overall: 9.3
Ratings Summary:
You should all know how I feel about ratings by now, if ever you have read my reviews, then you know I don’t 100% agree with the efficacy of ratings. So much is left to broad interpretation as nuance, context, and the intricate spirit of my review may be lost to… some numbers. I spend a large amount of time on “ratings” and probably waste too much time debating against myself over a handful of judgments ranging from 0 to 10. Please remember that these are solely my thoughts, based against sets that I’ve actually heard and gotten to know well enough to make an opinionated judgment. With that said, I should at least explain why I gave the Q5 what I did.Questionable
First off, the pool of $40 to $80 iems is a large one. This is easily one of the most competitive price brackets in all of audio. That said, one area I may have to explain myself is the “Build” category. I expressed how well built the Q5 is in my review and surely, I believe so. Still, at these prices there are better built sets, even though an 8.2 is still very good. However, for those who take ergonomics into play (which is part of the build), perhaps I could’ve given the Q5 a higher score. Basically, I left out comfort and fit and mostly gauged the “Build” by the actual structural integrity of the Q5. Either way the Q5 build is solid.The next thing which I could argue against is the “Bass” category. Honestly for many this could be far too high, and others may say it’s a bit low. If you are a basshead then this might as well be a 2.0. If you love a tight and mature bass with just enough slam, extension, clarity and speed then the score of 9.1 is probably a bit shy in comparison to what is out there. I honestly feel that “Treble” & “Technicalities” are right where the Q5 needs to be. Possibly “Timbre” & “Midrange” could be a few points higher but there is some thinness and metallic artifacts at notes edge in the midrange but a 9.1 is pretty damn good if you ask me. I could see raising the “Timbre” category a bit as well.
The whole, not the parts…
In the case of the Q5, I think one of the Key metrics that doesn’t get represented in the ratings is the most important thing of all concerning the Q5. If you ask me, its main selling point is just how well the Q5 pulls all the parts together as one coherent and melodious whole. Breaking the Q5 down to individual parts is not the best way to judge this set. This is a set which truly needs to be heard as a whole. It’s the whole audio salad my friends, and it’s all the parts brought together in a mellifluous coherency of sound which is the real way the Q5 should be judged against its peers. This is what I mean about the efficacy of ratings, they don’t tell you the whole story and this is something I want to try my best at getting right.
Conclusion
To conclude my full written review of the EPZ Q5, I have enjoyed my time with this set and feel it’s a good option within the price point. I am very curious to see what else this audio brand has to offer if one of their budget-oriented sets sounds like this. So, thank you to some of my friends in the community for Introducing this brand to me and hopefully I was able to Introduce EPZ to some more folks in the in the hobby too. One thing that I always make sure to mention is to please check out other reviews of the Q5. Do not just read mine and stop there. We all have differing opinions, and we all are very much different in how we perceive the auditory abilities of these audio devices. We don’t all have the same gear and sources, we don’t all have the same taste in music and taste in sound and we all haven’t been down the same audio journey, which really matters. Heck, we don’t all have the same hearing abilities. So, it makes sense to read, listen to, or watch other reviews and try to get a firm understanding of what you are getting. In fact, at Mobileaudiophile.com we usually have different “takes” over multiple sets. Pietro also reviewed the Q5 HERE. With that, I thank you, the reader, for clicking onto this review. It always means a lot and my greatest hope is that it helps you. Take care and God Bless!
Hidizs MP145 Review
Hidizs MP145
Intro
Hello everyone, this is my full written review from one of Hidizs latest iems, the Hidizs MP145. The MP145 is a Planar Magnetic earphone with an MSRP of $199 (limited early bird Kickstarter offer of $109 HERE) and the first from the good people of Hidizs. Friends, Hidizs has been on a landslide tear through the Audioverse with absolute contenders in many different price brackets. Recently I reviewed the Hidizs MS5 (MS5 Review HERE), as well as the Hidizs MS3 (MS3 Review HERE) and truly have enjoyed them and if I’m being honest… “lauded” each set for their individual appeal and unapologetically unique tunings, build, design and the accessories… really the whole nine yards. Hidizs has covered it all. This is one of those audio companies who seeks to impress in every regard and that is always refreshing to see.WDC
Of course, the Hidizs MP145 actually begins as a “Kickstarter” program. However, this isn’t any regular ole Kickstarter as Hidizs has actually partnered with the “WDC” (Whale & Dolphin Conservation). I think this is the first time I’ve seen an audio company partner with a charity organization, and I find it commendable and a great cause to further help fund. I told y’all, Hidizs is “Different”! The WDC is fighting the good fight in many ways for Dolphins and Whales of all types by pushing to end captivity of these beautiful creatures, by fighting to stop any “whaling” and killing of these species, and by cleaning up the seas which house these animals. Truly a great cause to get behind and a nice vote of confidence that your dollar will not only buy you a great set of earphones, but also will go to helping some very precious and majestic marine animals.The MP145 fights for relevance in a very loaded price point with a mountain of solid planar magnetic earphones, not to mention the other great iems with different driver configurations. I do hope I can help you to narrow that field a bit and also help you figure out if the MP145 is something that makes sense for your rotation. So, I think I’m going to cut this intro a bit short and get into it, the Hidizs MP145 everyone…
One more thing before the review, please check out the KICKSTARTER at the link provided below
– MP145 Kickstarter
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Hidizs put together another nice packaging yet a bit less wasteful and in step with their environmental involvement with the WDC. The box which arrived at my home is a small rectangular box, best guess is 6″ x 2.5″. You see a picture of the beautiful MP145 on the front sleeve as well as some logos and a few other details that you can simply see by looking at my pics. Anyways, as you slide off the sleeve, you’ll notice a black fully plastic inner box (no this isn’t the carrying case). Take off the lid and the MP145 will be staring right back at you as they are set in some cardboard covered foam cut-outs. Next to the earphones is a small box which houses the carrying pouch. By the way, the pouch actually has the beautiful cable inside as well as the tuning nozzles which are given a cute little case to store them in. So, once you take off the box and the foam, you’ll notice all the nice tips in a very neat holder with labels explaining the tuning for each.I absolutely love the choice of accessories that Hidizs decided upon as well as the quality of the accessories. Hidizs kept this box compact, small and not even slightly wasteful. I won’t call this Hidizs most lavish unboxing to date but for the price being asked the MP145’s packaging is truly up there with some of the best.
Carrying Pouch
As far as a carrying case goes, Hidizs left that one out in the accessory count as they instead opted for a pocket friendly storage bag. The bag itself is black in color with what appears to be a faux leather type material covering it. The opening mechanism is done by pinching the sheet metal ends together and releasing to close. An actual case would’ve been nice, but also… who cares? I don’t even use them anyways. I will say that the pouch that is provided is perfectly pocketable and is able to just hold the MP145 along with the cable. The material seems durable and nicely stitched.
Eartips
Hidizs provides a total of nine pairs of eartips. Actually, they provide three sets of three (S, M, L) and each set of tips renders the overall sound in a way that confirms the validity of the labels given for each set of tips (Vocal, Balanced, Bass). The “Bass” tips are a longer style gray silicone with a narrow bore and a firm stem. The “Balanced” tips are a white silicone tip with a black stem. These tips are similar to something like the KBear 07’s having a medium-wide bore. The last set is the “Vocal” tips. These ones have a wide bore, shallow fit, firm flange and are very nice indeed. Each set does very well with effecting the sound and each set is quality, not just some random tips thrown in for good measure.
Tips make a difference
Let me offer a bit of direction when choosing tips for the MP145. This is one set which truly makes nice changes through the use of tip-rolling. In fact, the sound is affected enough that I didn’t stop at the included tips but in fact went through just about every tip in my arsenal. Now if I was choosing any of the included tips, I’d use the large sized “Balanced” tips. However, in my tip-rolling escapades I found that the Dunu S&S tips performed the best of any set of tips I tried out. In my opinion. The MP145 and S&S tips will reward you with their wider bore and the S&S tips also have a deeper fit. With them installed the bass tightened, the stage grew, and the treble had a bit more bite and weight to it. So be sure to check out every tip you can to make the sound perfect for you.
Cable
The included cable is a very nice-looking wire which looks very handsome offsetting the silver of my MP145’s. One thing Hidizs is very well aware of is our love for a solid cable. I’ve said it before and I’ll say it again, “cables matter“… quite a lot actually. A good cable is the dressing on the salad, the sauce on the steak… actually… These are terrible analogies. It doesn’t matter though because Hidizs gets it. We are visual creatures, and we love to see that fly lookin cable just… dripping off our earphones. I can’t tell you how many cables I’ve purchased just for this purpose. So, how nice is it that Hidizs adds in cables that complement the product? Both in auditory joy and visually? Pretty cool Hidizs!
The cable I’m referring to is a 0.78mm 2-Pin cable which comes in either a 3.5 single ended variant or a 4.4 balanced which you can choose when ordering. The cable is a beautiful 4 strand 99.9999% high purity, single-crystal “oxygen-free” copper cable with silver plating. Hidizs promises an ultra-low resistance transmission… Ya know what, let’s hear it from the horse’s mouth…
Quality materials
To me, the included cable is much more like a very nice upgrade cable. Hidizs uses quality materials in this cable, and it has a very nice feel to it. Now, this cable isn’t as beefy as the MS3 cable and not even close to as fat as the MS5 cable, but it is a good size for this set. I don’t have any microphonic effects when rubbing it against my shirt and for the most part the cable is pliable and rolls up nicely without becoming a spiderweb of cable mess. Also, I love the subtle white gloss on the insulation cover of this cable. It really pops next to the MP145.
Earhooks
However, I should also add (full transparency) that the cable which comes with the MP145 does fit on my ears, kinda funny. Almost as though the female 2-Pin is a little bit too far back and up on the MP145. Every now and again the earhooks come out from behind my ears as they are simply too high on the ear. Understand, I do think it is mostly my ear anatomy that is the issue but something worth noting.
You’ll notice that I used the Hidizs MS3 cable for some of the pictures as I went back and forth between the two. I found that the “shark fin” style 2-pin connectors of the MS3’s cable were just enough to fix where the earhooks sat behind the ear. Another cable which works nicely is the KBear Chord 4.4 oddly enough. Obviously, this won’t affect everyone. Also, the included cable is very nice and looks great and this likely won’t be an issue for everyone.
Build / Design / Internals / Fit / Drivability
Build Quality
Now we get into the meat of this review! This is where things begin to get really interesting. I say this because the build quality of the Hidizs MP145 is absolutely THROUGH THE ROOF GOOD!!! Pick these up and feel them in your hand and I promise you’ll have zero choice whether you are impressed or not. The actual milling of the Shells was done using advanced molding and five-axis CNC machining & carving of aviation grade aluminum. To build the faceplates it took them 12 steps of milling to complete the “whale tail” design. The build is phenomenal and should not go understated. I do think this is the best build in the price point and I give that distinction without any internal pushback. The Shells are very solid.Bravo!
You’ll notice some very large vents on the faceplates on either side of the “whale tail” and another smaller vent near the nozzle. We have slightly deeper fitting nozzles as well, so take that into account. Also, these shells are absolutely enormous, like, bigger than the KZ AS24 shells. Their large, so smaller ears may want to try before you buy if that is feasible. Now, I realize that I just told you that the MP145’s are enormous but I also have to add that they are 100% ergonomic in design. Meaning, even though they are large, they fit fantastic, but I’ll cover that later. One more thing, the aluminum used provides a reasonably lightweight earphone at under 9.5 grams. All in all, Hidizs… Bravo! Truly an exceptional build! I do hope those who designed and built the MP145 know how well they did.
Tuning Nozzles
Hidizs adopted many tuning methods used in the creation of the MP145. There is nine to be exact when you figure in the eartips as well as the tuning nozzles. There are three female threaded tuning nozzles which I must say that I appreciate. Usually, tuning nozzles have the male threads on the tuning nozzle which makes them small and easy to lose. Not with the MP145. Hidizs actually reversed it, it makes the nozzle diameter a hair larger, but it is 1000% easier to install the tuning nozzles. Like I said, there are three nozzles labeled “Low Frequency” (Charm Red), “Balanced” (Rose Gold), & “High Frequency” (Quiet Silver).
What do they do?
I’ll be honest, you are not getting three different earphones in one, but you are getting substantial changes to the target tuning that relates to the naming scheme of each tuning nozzle. Also, be aware that also using the tuning eartips included in the packaging adds even more to the tuning nozzle’s efficacy. I am quite surprised at how well these options are implemented. Let me complete a very quick and general look at how the sound is affected using each tuning nozzle.
Low Frequency Nozzle (Charm Red)
The “low frequency” nozzle adds some warmth by dropping the ear gain in the upper mids/lower treble along with some obvious bump in the sub-bass. I find the bass nozzle (as I’ll call it) does add some meat to the sound, note weight gets a bump, yet also there is increased softness at note definition with this nozzle. I find the speed of attack/decay lingers a bit longer and the snappiness is slightly flattened a pinch, but I do like this version of a bass replay from a tuning option. That said, the bass nozzle adds a nice chunk of real bass density and gain. This all gets more inflated if you couple the bass nozzle with the bass eartips. Please trust me, the MP145 becomes a flat-out BASS CANON! Hidizs wasn’t lying when they said they had nine different options as they picked the perfect tips to affect the sound.Balanced Nozzle (Rose Gold)
The balanced nozzle is the most balanced of any of the tuning options as the name suggests. What we have is an increase from the bass nozzle in the ear gain by a few dBs and the difference is very easy to hear. The bass doesn’t really lose any emphasis with this nozzle, but the increased ear gain does add some levity to the sound with an increased punch in the bass region and better note definition. Macro-dynamics seem to get a boost with this nozzle as well. I like the openness of this balanced nozzle paired with either the balanced or vocal tips, or like I said earlier, with the Dunu S&S tips. Just so you are all aware, this is the nozzle that I used for the majority of critical listening.High Frequency Nozzle (Quiet Silver)
I actually enjoy this filter as well, but you do lose a bit of thunder in the bass region. Don’t get me wrong it isn’t a huge loss but when you couple that with the increased lower treble energy than what you have is a more neutral sounding set. The treble filter has a snappier sound across the board, and this is the most detail friendly of any of the nozzle configurations. The sound is still very musical but just a pinch less dynamic as a whole and a touch more analytical too. I feel the stage flattens out a hair with this nozzle but that is certainly debatable. I think that many hobbyists will enjoy this sound.
Design
This is one area that I may gush a bit hard. I have to be totally honest with you, that I am crushing a little bit over the look of the MP145! Good Lord… look at this set people! Hidizs! My word whoever designed this set deserves some sort of a trophy. The design is stunning. You see the pictures and I can promise that not even one of them does this set even the slightest bit of justice.Again, the MP145 is crafted entirely out of aviation grade aluminum and has one of the most intricate and imaginative design concepts. The faceplate area is actually supposed to mimic the look of a whale tail. One person on Facebook also remarked that the design on the faceplate resembles more of a shark tooth… I do agree with that assessment. Anyways, I digress, the MP145 from Hidizs may just be the best design of the year within the price point.
Color choices
The MP145 actually comes in three (actually four) of the best colors Hidizs could’ve chosen. They come in “Blue” which is more like a navy blue. It’s a very bold looking marine type of color which certainly fits the motif. The next color is “Titanium” which is tinted closer to a sandy tan if I were to try to describe it. Just beautiful. The last “regular” color is the “Silver” set that you see in the pictures. Honestly, I don’t know which I like the best. When Bella asked what color, I wanted it was kind of a nail biter.Golden Special Edition
I do have one more thing to add to this review as far as color choices; Hidizs will also be offering a limited number of “Gold” colored MP145’s which Hidizs aptly named the “Golden Titanium Edition”. There will be 199 units available to be exact. These will be a limited edition and I have to be honest; they look like jewelry.
Again, the whale tail itself took 12 steps of milling and carving to create that look and each step is finely laid out. One thing that I love is that Hidizs chose not to put any logo on the faceplate which is a classy move and it paid off because the design speaks for itself. Who needs logos and names? The rest of the design language is smooth lines and feels premium from the 2-Pin connectors all the way to the nozzles. Truly a beautiful set that deserves some praise. In the same breath I’m sure there will be those who don’t enjoy this look as much as I do.
Internals
Hidizs decided upon a massive Planar Magnetic Driver for the Hidizs MP145 and they happened to name this Driver… “Fast”. Yes, it’s a strange name but I’m not here to judge my friends. If it’s any consolation, it’s nice that they named the Driver after one of its many attributes… Speed. To be exact, “Fast” is a 14.5mm Planar Driver with a fully symmetrical magnetic array with 7+7 N52 magnets which achieve up to 1 Tesla at the magnetic gap. Hidizs states that this configuration ensures a lower harmonic distortion as well as magnetic circuit efficiency. I can actually attest that distortion is not in the MP145’s vocabulary. This is a solid Driver folks.
Drivability
Planar Magnetic earphones have come a very long way as far as Drivability is concerned. It used to be the case that you’d need a good and strong amp to power any Planar to bring them to good fidelity. However, nowadays this isn’t so much of the case. As far as the MP145, it can jam out at decently low power. Still, before I get into this section just know, the MP145 definitely scales with power.Mobile listening
The MP145 is rated with an impedance of 30 ohms and a sensitivity of 104db’s which makes it pretty darn sensitive on paper. I did try out one 3.5 single ended cable with my iPad 6th gen and that was short lived. Not that it couldn’t bring the MP145 to volume, but it couldn’t bring out the dynamics in this set. So, I stopped playing that game and figured, “Anyone purchasing the MP145 must have at least a decent Dongle Dac at their disposal”. So, I next went to the IFi Go Blu and easily drive the MP145. The sound was bold, big and the MP145 reacted to the CS43131 dac chip and strong amping power under 4.4 balanced very well.
Dongle Dacs
Listening with the MP145 attached to the Moondrop Dawn 4.4 is where things get even more fun. Again, the Dawn 4.4 has a CS43131 as well, but it is tuned much differently than the Go Blu. The Dawn is a snappy, neutral sounding dongle with loads of energy and macro-dynamics. The MP145 does very well paired with a sound like this. I briefly used the Hidizs S9 Pro and came to a very nice conclusion as well, but I had to use a 2.5 balanced cable which was cumbersome to keep switching out, so I stuck with the Dawn 4.4. Synergy is very nice between these two and the amping power of the Dawn really begins to draw out the vivacity and macro-dynamics of the MP145 and the musicality.Daps
Stepping up to my Daps I always begin with the iBasso DX240 which carries a flagship level ES9038Pro dac chip and about 1W of power. I use the MP145 on either medium or high gain and didn’t see much of a difference between the two. These two-sound nice but I did detect a hint of odd timbre in the upper regions for whatever reason. However, nothing paired as well with the MP145 as did my Shanling M6 Ultra. The M6 Ultra is in my opinion the best dap under 1k, and it showed itself true as the lush yet ultra resolving sound played through the MP145 was the golden ticket. That velvet AK4493SEQ Flagship dac chip along with the rest of the tech housed within the M6 Ultra strikes such a nice balance against the tonality of the MP145.The least you’ll need
In the end, not everyone has a Dap or even a $100 dongle dac at their disposal. I think what it really boils down to is this… Make sure to have a well powered dongle dac, it doesn’t have to be ultra expensive. There are many on the market that you can get relatively cheap. Honestly, the MP145 paired pretty well with every source I used so I truly don’t think you’ll have a synergy problem.
Sound Impressions
Note: I feel I need to preface this entire portion of my review with this; all impressions are done after extensive burn-in. I’m talking up to 175-200 hrs. I simply let this set play for days and days friends without thinking about it. Of course, I don’t think it necessarily needs this much. You should be fine with probably 25 to 50 hrs I’m sure. Without question this paid off. However, I don’t think it’s mandatory because this set does sound very good out the gate. Listen-in should be perfectly fine and probably what I would’ve done if I actually purchased this set. Also, all impressions are based off of the price point and against other planar sets. This is how I went into this review; I believe it makes the most sense as well. All listening was done using my devices, 4.4 balanced, high gain, using Dunu S&S eartips and flac files stored on my devices. The Hidizs MP145 comes across as a Harman inspired V-shaped set which can double as an almost U-shaped, or even triple as a soft W-shaped set too… depending on what tuning nozzle and eartips are used. The sound is mostly warm with a spritz of neutrality and it comes across very clean, controlled, dynamic & snappy. Yet it’s also lush, weighted, authoritative and bold. I find the MP145 to be a very musical set which isn’t something that I easily say about most Planar earphones. It has a very nice timbre throughout and is a “stand-out” in the “technicality” department. The stage is enormous, vast, with good depth. Layering is fantastic. Detail retrieval is great with a tuning that is well adept to pick out the subtle things in my music, even with the bass emphasis.
Between the 20’s
If this is all that you read just know this, the MP145 can flat out BANG! The bass can be BIG and can be pretty boomy under the right conditions. Generally, I find the bass to be punchy, deep enough and pretty fast to keep up with complex basslines. The midrange comes across more smoothly yet doesn’t skimp on separation and note definition. Vocals of both males and females sound nicely weighted yet still airy and I also like how well the imaging is in this region. The treble has nice note weight, punch, and there is adequate bite to treble notes with very nice extension. In total the sound is actually great, truly. I am impressed that this is a planar earphone, and I don’t hear that annoying planar timbre but instead hear a nicely organic sound that has fantastic macro-dynamics.
Bass Region
Let’s talk about the bass. One of my favorite subjects. I love good bass, in fact I listen for it, wait for it, and when I hear it done well… I may get a little giddy. What’s a hobby without some childlike joy? So, I’m just going to preface this entire section with this… The MP145, without the shadow of a doubt, has some very nice planar bass. The low-end is clean, nicely deep with pleasurable extension as well, ranging from moderate to Bass Boi levels depending on your nozzle and tip situation as well as the track being played. What I like about the bass is the speed of the bass per the quantity as well as the note definition. Nothing pillowy, nothing fuzzy, nothing hollow at all and truthfully, the MP145 doesn’t even sound like a planar completely. Of course, a good DD will have a slight bit more organic oomph, but it’s very close.Sub-bass
Again, using the Rose gold nozzle I feel the sub-bass can get low with very nice extension. The MP145 is very close to DD type levels of haptic energy and controlled resonant vibration. When I listen to “Don’t Look At It” by Ashnikko I feel every last note down low. The best part is the precise energy and attack that the MP145 is able to deliver. The sub-bass has very nice agility with an almost ductile ability to stay composed in most any musical arrangement. This track is not my favorite but it’s a great tool to show off the MP145’s abilities. The leading edge of attack provides good note definition in the lowest of lows. Not perfectly clean note outline but very well contoured and controlled.“Take” by Westerman is another solid example of a track in which I can 100% feel the vibrational energy from the bass guitar which is the running undercurrent of this song. If you enjoy a solid sub-bass RUMBLE & DRONE, then you’ll like the MP145 in this regard. What’s great is that the sub-bass never seems to impede on the rest of the mix. It stays in its lane, so to speak. There is a depth to the rumble, a concrete solidity that stays relatively solid, undistorted even at high volumes and is always in control it seems. Another track is “Down by Law” by Killer Mike off his latest album where I can definitely feel that dirty sub-bassline which is great to see from a planar set.
Mid-bass
The mid-bass is also in good control and holds a tight edge and also with nice note definition that doesn’t sound flabby and doesn’t negatively affect any other area of the mix. Though I’m quite positive some will not want as much emphasis. This is not the type of mid-bass that slams and lingers too long either. Meaning, it isn’t that slow and intrusive type mid-bass. It’s moderately tight for its size, it’s impactful and makes its presence felt & heard. “Uncle M” by Young Thug is a good example of the MP145’s ability to attack with authority and with a nicely concrete edge and then decay and release relatively quickly, or appropriately. Let’s put it this way, when the MP145 needs to be speedy it can easily handle that. Yet in a more atmospheric bass track the MP145 doesn’t disappoint either, at least for me it doesn’t.I also enjoy the texture and tactility of the mid-bass and the fact that this is not at all a one-noted affair. It isn’t so boomy-bland and over saturated that it brings upon any veil to the rest of the mix. Like I’ve said a few times… This is a clean mid-bass for its size which helps the overall sound to be much more satisfying. Not every set can pull off such an emphasized sound without coming across as intrusive or overbearing. Also, not every planar can pull off decent texture while sounding as robust as the MP145. Let’s also dispel any thoughts about planars not being able to thump with some real gusto because the MP145 can be an absolute BEAST when it is called upon to do so.
Audiophile Basshead?
Bass guitars have a full growl and I hear bulbous kick drums with a solid and hollow boom and a tacky edge on attack. Really the MP145 should make fans of Hip-Hop, R&B, EDM, metal etc. very happy. The low-end can handle multiple basslines with ease and never seems to be over matched in complexity of my musical library. The thing I like the best is that the low-end is very technical as well as authoritative which isn’t usually something which goes hand-in-hand with each other. My only real question is this… Is this an “Audiophile Basshead” or a “Mature-Bass Boi”?Downsides to the Bass Region
The only downside that I can come up with is that not everyone will enjoy the emphasis. Of course, they can always opt for a different nozzle situation or simply EQ the low-end down a few db’s. The Bass can at times take center stage over other instruments, but this is a rare occurrence on the MP145. In truth… this is a great bass if you like a bigger bass section. Perhaps at times on extremely bass heavy songs some of the details may be overshadowed, of course I don’t know who’s seeking out the finer details in ultra heavy bass jams.
Midrange
The mids have a decent smoothness which isn’t always a quality of planar sets. Many times, there will be a certain coarseness to the sound on a planar. Not as much on the MP145, it’s smooth, semi-lush yet rich. However, it’s not so smoothed over that it dulls and flattens note definition or covers over details in a bad way. One nice feature is that the MP145 has less “Planar timbre” than most other planar iems. It is a very rare occurrence that I hear that metallic type of electrical sounding note outline like many planars. Though it can happen at rare times. The only other planar set which succeeded in this regard was the Hook-X (that I’ve heard). Truly the MP145 is a very well-tuned and very well-designed set, and the midrange is just another example of this. Lower-midrange
In the low-mids we have a very slight recession, but this only helps this set to sound more correct to me. Males have nice weight to their vocals, and they carry a very nice presence in the mix. In “Jake’s Piano” by Zach Bryan the MP145 creates a beautifully emotional experience by sounding more natural and organic than anything. The instrumentation around Zach is very well executed as well. People, I really do enjoy male vocals listening with this set. There is just enough warmth from the low-end for nice body yet enough of a crispness when needed too.Jason Isbel sounds very melodic and the timbre to his voice can be captivating in a track like “Cover Me Up“. In his more vulnerable lines, he sounds soft yet clean and very much stalwart in the more aggressive chorus lines where he really goes for it. Thankfully in those passages the MP145 doesn’t kill my ears in fatigue like other sets can with this track. I will say that in the more aggressive passages of music you may get the slightest sense of planar effects in the timbre, but this shouldn’t bother anyone.
Upper-Midrange
That resolute delivery is even more evident when listening to females, and this can be heard on the track “Want You Back” by Maisie Peters. She sounds forward, but not in your face. She sounds rightly vibrant and crisp when the articulation in her voice requires that out of the MP145. However, for the most part females have a smoother timbre and body, yet also have plenty of shimmer and glow as well. The MP145 has a nice ability to highlight a female voice without causing the sound to be too forward or too hot which is something that is a common tuning theme of late. Thankfully Hidizs tuned the MP145 to be held in check in the ear gain area yet still come across vibrant and emotionally dynamic. If that makes sense.Honestly, I feel the MP145 does everything very well and female vocals are not an exception. The MP145 can sound dulcet, birdsweet, and songfully smooth yet just as easily sound exuberant, symphonic and rotund in a ballad. For instance, Sierra Ferrell sounds angelic listening to “Whispering Waltz” on the MP145. There’s this haunting type of sweet longing presented in this track which can only be truly appreciated on a set that can adequately replay that emotional feeling. Please trust me, not every set can do it. The MP145 displays the secondary harmonics of a female voice very well and the fundamental body of a female note has yet to sound “off” to me. In fact, I’d argue it’s the exact opposite.
Instruments
I don’t hear any instruments that sound completely unnatural or odd in any way. Most instrumentation isn’t overly colored which is something I’d think the low-end emphasis would have done. However, this isn’t really the case and any coloration that we do have, I think helps the sound altogether.The fundamental tone of a cymbal strike provides a full “chisk” with plenty of meat or body to them. Of course, this greatly depends on the track. Not all recordings are created equal my friends. I am speaking in generalizations here. Anyways, most percussion has a nicely wet edge, like snares, which have a snappy “pang” and a quick decay. Piano is mellifluous and charming for the most part. Strings sound nice and in my opinion have good secondary harmonics, especially in acoustic tracks where you can single those out. I like that I can easily hear the finger slides, or the fact that I can hear each individual string when listening to an artist strum his guitar. Even electric guitar is nice and held in check and without that piercing glare which can so easily occur. Violin has a very nice sound as well on the few test tracks that I have using the instrument.
It’s the structure
I won’t go through every instrument and to be fair; I haven’t heard every instrument through the MP145. Furthermore… these are only “MY” opinions of the sound I’m hearing so try to be understanding of that. Still, for the most part, the MP145 does very well with instruments in this region. I think the best part of the instruments isn’t simply the tone & timbre though, I think it’s actually the structure of the sound, the cadence of the sound, and the atmosphere surrounding the instruments. Also, layering is through the roof as if each instrument can give you a 3D vision with sound from every side of it. Separation results from the wider stage and the clean playback of resolving notes. All the while the sound is lusher than it isn’t, more smooth than crisp, and more timbre-accurate than it is processed sounding.Downsides to the midrange
Honestly, I would say that if there was a downside to this region it would be that some DD sets can come across more organic and even more natural sounding. Please believe me that I’m splitting hairs here or I’m grasping for faults. I would say the midrange’s biggest issue is probably the timbre. In the same breath, the timbre is fantastic for a planar… No doubt about it! There is the faintest hint (and I do mean faintest) of planar timbre towards the upper-mids but much less than most any other planar.Hidizs did a wonderful job with this set. I don’t hear any sibilance at all, no glare or shout either and trust me I searched for it with a Playlist specially designed to listen for these things. I’m excluding a lot here guys and gals. If you saw my listening notes, you’d be happy I am. Trust me, this review would be twice as long and so I have to pick and choose to keep the word count down. In the end, the midrange is musical, lush, clean, detailed and expressive… what more could you ask for at $109, heck even at $199?
Treble Region
The treble has a nice snap to it, some precision, some pep. It’s intricate, articulate and at the same time the treble is nicely bodied and weighted. Treble sections are always the shorter of the sound sections being that there is simply less to say most of the time, but I really do appreciate the tuning of the highs. Timbre is very well done with the right amount of treble rise to accommodate different instruments in this region. It isn’t over-cooked or shrill, not even in the slightest. Even on treble heavy tracks and at high volumes I really don’t hear any sibilance up top, and I also don’t hear any odd planar timbre either. The treble is well extended into the highest of highs with plenty of info easily heard out past 10k. In truth, I’m finding it hard to knock this set for what it’s being sold for. Examples
Listening to my “Treble Playlist” and the track “Keel Over and Die” by Old Crow Medicine Show the first thing I noticed was how distinct the fiddle play was apart from everything else. The great thing was that the fiddle can really move extremely quick which on most sets sounds a bit more mashed together. With the MP145, each note has its own lifespan of attack through sustain. I’m not saying this is the best treble I’ve ever heard but I am saying that I’m surprised by how well rounded this set is. Truly!Another track is Billy Strings song “Secrets” which displays his rapid-fire banjo play extremely well. Each pluck is so well rounded and clean. So very clean. I hear the entire soundstage filled with treble activity and every other frequency and each blistering note is palpable, distinct, definite, and transparent. “Satisfaction Feeling” by Stick Figure is another track where the treble play stands out well against the canopy of the rest of the mix including some nice and heavy bass play.
Must be the driver
This driver is very fast when it needs to be, and it is evident the difference between a good planar and something like a BA or DD. I still think a good EST Driver can manifest a bit better treble play but that is absolutely debatable. The MP145’s Driver comes across controlled and picks up every last little detail in my music providing the recording is a decent one.Downsides to the Treble Region
As far as downsides in the treble, if I’m being picky, I would say that I’d like a bit more of an etched out note definition with more feel to treble notes. In all truth, I don’t really think that is a real downside, however. Perhaps treble heads would like even more of an emphasis, maybe more of a forced resolution up top? I find it hard to put down such a well-rounded effort from a company who isn’t trying to price gouge when clearly, they could’ve sold this set for quite a bit more and I wouldn’t bat an eye over it.
Technicalities
Soundstage
The stage size is absolutely one of the “Pros” of the MP145. It’s pretty large for an in-ear. Not just in width either and not like 90% of planar iems where the stage is a flat wall in front of the listener. The depth of field is fantastic, height fills my head space, and the width reaches outward past my ears all the while retaining the integrity of each note, no matter where it resides in the sound field. Do yourself a favor and put on any track from Stick Figure or Home Free and you’ll notice that they use every square inch of the psycho-acoustic stage in damn near every track. Stick figure uses instruments while Home Free fills it with male vocals. The point is that you’ll notice the sheer size right away when you put on the MP145. It isn’t a coliseum or the size of a good set of over-ears but for an iem the stage is very well done on the MP145.Separation / Imaging
For the most part while listening with the MP145, the separation of elements of an imaginary stage within my library has proven to be quite good. The sound comes through pretty transparent, the stage is big, resolution is great, depth of field is fantastic which corresponds to the layering abilities. All of these attributes combine to help the MP145 in its ability to separate and create a clear and precise image of the stage as well as partitioned off pieces to the band or music in front of the listener. Separation is a “Pro” and so is the MP145’s imaging ability. Imaging is very good friends. Walking step by step with separation, the imaging has all the tools, meaning left to right, front to back and every angle in between.Details
This is one area where there is a bit more dependance on the type of recording and even the genre to some extent. I will certainly say that no matter what you are listening to, the detail retrieval is very well done. However, providing there isn’t a ton of complexity, mixed with a ton of bass, you will have extremely good detail retrieval. Also, bad recordings will show their fruit, or lack thereof. So, as long as the track isn’t a bass heavy and bass obliterated banger, or the track isn’t so complex that hearing the subtleties is just impossible, then you’ll like what you hear if detailed listening is your bag. In any other track I’d say that macro-details as well as micro-details come through pretty darn well. Now, the sound is a hair lusher in some areas of the midrange and so there are some caveats but for the most part you aren’t missing anything in your music.
Comparisons
Note: I just wanted to note prior to these comparisons that these will be ultra-condensed “pint-sized” comparisons. I will be very generic in my verbiage and will speak in generalities. This will not be like my usual 2000-word comparisons. Also, any comparison I perform is not supposed to be a duel to the death but simply a way to better explain the set I’m reviewing. However, this shorter form may sound like more of a duel. One more thing, all comparisons will be completed using the “balanced” nozzle on the MP145 so you can imagine how these comparisons would change when you decide to go with another tuning nozzle. Tangzu Wu-Zetian ($149)
The “Zetian Wu” or “Wu Zetian” is one of those sets that just exploded onto the scene right in the middle of the planar wars and quite literally stole the show. We were in the middle of obsessing about the 7Hz Timeless when all of a sudden, this set comes along and (in my opinion) renders the Timeless… pointless. The Zetian Wu also has a large sized 14.5 mm Planar Magnetic Driver.
Differences
As far as build is concerned, let’s face it… This is no competition. Obviously the MP145 is superior. Also, I would say in the looks department the MP145 is also vastly superior as well. Accessories are mostly equal except Hidizs does provide the better cable. Both sets are on the warmer side and both sets are fantastically tuned sets with a nice balance across the frequencies. The MP145 is a hair easier to drive but both sets are pretty sensitive and simple to drive.
Sound Differences
The MP145 has a punchier and deeper bass region with a denser slam and better low-end details as well. The Zetian-Wu can still slam pretty good but there is a hint of fuzz at note ends that the MP145 simply doesn’t have. As far as the midrange, I find both sets really perform well here, however the Zetian Wu has a bit of Planar timbre while the MP145 sounds cleaner in the timbre. I do like vocals a bit better on the MP145 as they have the lusher presentation, and it also has the more detailed sound in this region. In the treble region the MP145 has more emphasis but this is very close between the two. However, the MP145 carries better details, and the treble has better bite. Although, once again, both sets do very well here. Basically, as far as sonics are concerned, the price differential is warranted as the MP145 is “in a nutshell” the more refined unit with grander & more expressive macro-dynamics and sound density throughout. Not taking anything away from a great tuned set in the Zetian Wu.Technicalities
The stage size of the MP145 is grander in every direction, coming across more 3D. The MP145 also has superior separation, imaging and details. I would say that transient attack on the Zetian Wu is a hint more atmospheric and a hair slower. Which by the way, is not a bad thing, but it is a preference thing. The MP145 and the Zetian Wu are very clean across the mix but the MP145 has a bit better resolution throughout. Neither set is plain bad in the technicalities department and both sets are truly fantastic iems in their respective price points.There you have it, my ultra condensed “pint-sized” comparison. I squeezed as much as I could in as few words as possible for an a/b comparison which lasted well over three hours long and a ton of notes. Really this comes down to what is best for you. Honestly, I do feel that the MP145 outclasses the Zetian Wu in almost every category. I suppose that this doesn’t really tell the tale though because the Zetian Wu is a very nice set which has many redeeming qualities which doesn’t get translated in this format very well. It’s one of those sets that sounds amazing as it is, a set you have to judge as a whole and not broken down into fragmented attributes like I have here. Nevertheless, if it was me choosing, I’d take the MP145 all day long, even at the increased price.
Letshuoer S12 Pro ($169)
Ya know, I could’ve added any planar to this list, but I chose the sets for these comparisons which made the most sense to me. One set that is wildly underrated and an absolute Kingpin in the Audio game at its price point is the Letshuoer S12 Pro (My S12 Pro Review HERE). I felt it was a very nice upgrade from the OG S12 and honestly one of the dopest looking sets at any price. That blue folks! Anyways, not that the Zetian Wu isn’t a great set, it certainly is. However, it ain’t the S12 Pro my friends! The S12 Pro is another step up the ladder in my humble opinion. Naturally it lands on this list which should tell you at least a little bit on how I feel about the MP145. Now, the S12 Pro utilizes an even larger 14.8mm Planar Magnetic Driver and can seriously jam out! Let’s check out some differences.
Differences
To begin, there is a bit of a price difference, and that price difference is definitely suitable in my opinion. However, as far as construction, both of these sets are built like absolute studs. Both made out of metal alloy, both gorgeous and unique in design, only the MP145 is much larger and much more intricate in its build. Still, both sets are absolutely striking and very robust and durable with a premium feel. They are both easy to drive with the MP145 being a hair easier and both sets will reward you with more power. Both sets have the same harmanish yet dynamically pregnant sound and both sets are very clean in replay.
Sound differences
Honestly these two are way more alike than they are different (as a whole) when speaking about the sound. Literally they both follow the same tuning philosophy as well. I do think the macro-dynamics of the MP145 are more stirring and fervent. As far as the bass, both sets have about the same amount of rise down low but there is still a bit rawer density in the MP145’s replay. The MP145 is a bit punchier as well but that is seriously close. Perhaps a bit more slam in the S12 Pro but the sound is still cleaner on the MP145, better detailed and separated.The midrange of both sets is close to identical with some small deviations. The MP145 has better resolution and is a bit more forward in the upper-mids. This is evidenced in many of my tracks. Note weight is about the same on both and there is a hint more shimmer and vibrance on the MP145. The treble is more pronounced on the S12 Pro by the tiniest of margins with seemingly better extension past 10k but that could simply be my brain dreaming it up. The MP145 has the snappier, punchier, and better-rounded treble region. Again, splitting hairs.
Technicalities
The stage of both sets is rather large but the MP145 does have the S12 Pro beat as far as height and depth goes with a more holographic presentation. Not to take anything at all away from the S12 Pro as it has a very well laid-out stage. I find layering of the sound field to be better on the MP145, to a slight degree, but still good on both sets. I also feel that detail retrieval goes to the MP145 with its very clean sound though you aren’t missing much with the S12 Pro. The transient response is about the same on both sets, but separation and imaging seem to be easier to discern on the MP145.In the end
To me, I know which set I think is better, but you have to look at pricing as well. Now, the MP145 will be about $30 more unless you get the initial Kickstarter deal of a ridiculous $109. Honestly your choice may just come down to the size of the earphones. In my humble opinion, after a couple hours spent going back and forth between the two, there is enough of a separation sonically to justify the price difference of $30. I do feel the MP145 is a slight degree of refinement above the S12 Pro. It’s close, but to me the MP145 is a hair more dynamically vivid with fuller macro-dynamics. Plus it has better technicalities across the board. Both sets have a nice timbre for planars. It’s actually hard to adequately describe all the differences in this short comparison model I’m trying out. However, I love both sets and I truly enjoyed the couple hours of comparisons between these two.
Is it worth the asking price?
This is always a poignant question to answer in any review and it’s one I do take seriously. I don’t feel comfortable deciding what is, or what isn’t “worth” your hard-earned money, especially in this day and age. So, I answer this question for “Me”. The regular MSRP of the MP145 is set at $199 which is a bit higher than many planar magnetic iems on the market and also lower than some sets as well. Now, if we are talking about the $109 early bird offer then that is a no brainer for anyone. However, even at $199 I think the MP145 is actually a very good price for what you are getting, and I still think it is a deal at the full price.Competition
Of course, you do have some very nice planar iems priced lower than the MP145 like the BASN ASONE (ASONE Review HERE), Letshuoer S12 & S12 Pro (My S12 Pro Review HERE), Tangzu Heyday, Zetian Wu, and the 7hz Dioko. These are just to name a few. There are also some heavyweights like the Raptgo Hook-X (Hook-X Review HERE), Raptgo X-HBB Hook-X or the Dunu Talos among others. So, as you can easily see, the MP145 has some serious competition. I haven’t heard them all, but I have heard most, and I simply want to state that the MP145 may be the best one yet for many hobbyists. This is a loaded statement and I am very well aware of that as I sat here for a very long time debating if I should even write those words. I wish I would’ve had time to compare the Hook-X but simply fell short. Perhaps I will edit it in at a later date.The Why…
The reason that the Hidizs MP145 is worth the $199 that Hidizs is asking for begins with the build. This is without question the best built planar iem in the price point and truthfully, I think it is the best built set of any driver configuration as well within the price point. Of course, that is highly subjective. It is a gorgeous set too. Again, subjective but… show me a better-looking set. The accessories are nice too, but the number one reason that the MP145 is worth every last penny is the sound quality. Truly, the MP145 absolutely charmed me! What a well done iem. In fact, my “Cons” that I list are blind stretches at best. This is a no hype place here friends and so any excitement you see from me is as genuine as it gets. The Hidizs MP145 is truly a contender at its price and worth every penny!
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Hidizs MP145 ratings below, that would be $100-$220 planar iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $100 – $220 US is a small scope of iems and so seeing a 9 is easy to understand. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 10.0-Look: 9.8
-Accessories: 8.7
–Overall: 9.5
Sound Rating
-Timbre: 9.9-Bass: 9.8
-Midrange: 9.5
-Treble: 9.5
-Technicalities: 9.6
–Overall: 9.7
Ratings Summary:
Due to the enormous size of this review, I will keep this short. Basically, I can keep it short because every Rating is pretty self-explanatory and there aren’t any ratings that I feel questionable about. Looking at any planar set between $100 – $220 US isn’t the largest pool of iems and so those high scores are very much understandable considering that I truly feel the MP145 is the best planar in that price point (in my opinion). I’m sure that some folks will feel differently and that is what makes this hobby truly special and completely personal. 9.5 in “Aesthetic” and a 9.7 in “Sound Rating” sounds about right to me but I’d love to hear your comments about it.
Conclusion
To conclude my full written review of the Hidizs MP145, I want to graciously thank the truly awesome people of Hidizs. In fact, I want to brag on these people and this company for a spell. I have never dealt with a brand who encourages me to speak my truth about a set. Most companies will simply not say anything and then ghost you when you are a bit too harsh. And that is okay by me, fair enough. Not Hidizs. Hidizs stands by their product and truly believes in their products and always encourages me and every other reviewer to speak their mind and then they simply live with the results. Also, no company has sent their review units to more regular people, not just established reviewers. A genius move to incorporate the “internet” and their social media reach to promote their products. This is all good stuff, and I am happy to sing their praises. To say it was a “treat” to receive this set from Hidizs is a massive understatement and I want to thank Bella, Zoie, Rainie and everyone at Hidizs that I’ve dealt with leading up to the release of this set. The people I have dealt with represent their company in a new and fresh way which is…refreshing. So here is my small thank you to some extremely professional and extremely sweet people. Thank you.
Thank you reader
Also, thank you to anyone who has read this review. I spend a ton of time on this and truly enjoy and love the process. I do hope this review helps at least a little bit. Please comment under this review any questions you may have, or misunderstandings and I will surely get back to you. Please don’t stop at my review. I urge you to seek out other opinions about the MP145. It will only educate you further and help you to make an educated decision. Please take care, stay as safe as possible and always… God Bless!
Denis Iastrebov
Thanks a lot for the review, especially for the comparison with S12Pro, which I own too. I really liked them when got them, but later I found out about the Z12, which has a bit more sub-bass and a bit more sparkle. I wonder how Z12 would compare with MP145... I also had Hook X HBB, which had both driver flex and less energy in highs, but wider soundstage though.
Celest Phoenixcall Review
Celest Phoenixcall
Hello, this is my full written review of Celest Audio‘s latest Hybrid iem, the Celest Phoenixcall. Celest is actually a sub-brand of the popular audio company “Kinera” and please trust me; the quality is evident from the moment you pick this set up. Basically, you can spot the lineage right away. There is a certain distinction of virtue, or class in a Kinera set. Almost like a foregone conclusion that the product as a whole carries a level of prestige, without being unaffordable I should add. That’s Kinera to me and thus, this is also what Celest represents to the more affordable branch of Kinera’s lineups. At least this is how I see it. It goes without saying that I was more than happy to receive the Phoenixcall and will do my best to explain this set to the reader today.Kinera
The great audio company “Kinera Audio” was established in 2011 and entered the audio world first as a manufacturer of Drivers for Military Hearing Aids. Kinera holds many patents for different drivers such as Balanced Armatures, Bone Conduction etc. It wasn’t until 2016 that this storied company actually created their first iem, the Kinera BD005. Since then, it has been a constant churning of well-crafted iems. Slowly but surely, Kinera worked their way up to better and better gear to be sold to the audio community. Quickly Kinera gained respect within the field of audio, and I’d say that we are still seeing the same respect throughout the community even today.That quick rise began with the BD005 and then eventually we saw the likes of the Kinera Seeds, Idun, Odin and since that time…the rest is history. In fact, I reviewed the Kinera Hodur recently (Hodur Review) and absolutely enjoyed that set. There have been countless iterations of each set as well as many new iems that topped charts in the audio community since those early days. Within time Kinera became a name synonymous with quality and price to performance. Kinera will always craft a product with a story and a definitive purpose, and every product will be released when it’s ready. Truly I am confident to say that Kinera is one of the better brands of personal audio.
Sub-Brands
During this time of expansion Kinera split off into some very successful sub-brands like Queen of Audio (QOA) & Celest. QOA has had a number of successful sets over the years as well. Now, Celeste (new to the game) has already done very well to make its mark within the hobby, by starting out with the wildly popular Celest Gumiho and one of my absolute favorite iems under $100 the Celest Pandamon (Pandamon Review HERE) which I reviewed last year and gave it very high marks for its beautifully neutral and wholly clean sound. That leads us to the set I am reviewing today.The Phoenixcall came along with some nice buzz in the community, and I have to say that I was more than thrilled to receive this set from the good people of HiFiGo. So, let me quickly say thank you to Lvy as well as HiFiGo for providing the Phoenixcall in exchange for a feature at Mobileaudiophile.com. Thank you.
The Phoenixcall is actually more than just a hybrid set, as it’s actually a “tribrid” iem consisting of one Dynamic Driver, two Balanced Armatures and two Micro-Planar Drivers. I have been taken aback by many factors regarding this gorgeous iem. The look, sound, packaging, the whole nine yards to be honest. However, one of my most favorite aspects of a Kinera/QOA/Celest iem is in their naming schemes…
Phoenixcall
One aspect of a Kinera, QOA, or “Celest” product is that they actually take the time to give their products a certain “theme” if you will. I remember a Facebook message throughout some audio groups in which representatives from Kinera were asking about a name to give this beautiful tribrid. They asked for a name that is associated with hundreds of birds coming home. “Phoenixcall” was obviously the name they chose but it was the sentiment which was refreshing to see. Not only does Kinera give their iems a “personality” or “theme” to align to, but they also tune their iems to this “personality” or “theme”. I absolutely love this. Kinera puts a ton of expertise, knowledge and artistry into their products, to where they aren’t simply audio devices… but functional works of art.Shanhai Jing
Phoenixcall is actually derived from an ancient Chinese myth “The Legends of the Mountain and Seas” aka “Shanhai Jing”. Hopefully I don’t butcher this too badly. This myth is actually a sort-of “encyclopedia” of geographical knowledge as well as a book of short myths, strange creatures, and of medicine etc. It is an ancient book that doesn’t seem to have a reason for its existence. A strange book no doubt.One story within this strange book is actually a scene which Celest describes as a “destined force lurking in the dark” of the forest which called home the families of divine birds. These birds filled the skies all at once as they made their way back to the forest. Quite a grand scene if you use your imagination a bit. Picture a harmonious meeting in the sky. Hear the sounds, the songs, the foreboding grandeur of a momentous convergence such as this. What are the colors? What is the mood? Think of all the variables. Now, bottle that all up and create an iem in the likeness of this mythical occasion. PHEW!! After you are done doing that, tip your hat to the people behind this set…Truly a job well done!
Maybe I’m romanticizing but…
I would hope that other companies would put the same level of care and thought into their audio devices. I would hope that the days of simply assigning some random numbers and letters and then slapping that on a cardboard box and then calling it a name are behind us, but of course that’s unlikely. With that said, I think the consumer should cheer on a company which strives to be more than a quick cash grab. With Kinera, there seems to be a sense of real thought, purpose and care put into not just the name but also the unifying idea and concepts behind the art that they create.Maybe I’m romanticizing this a bit much as that has always been my biggest problem in some people’s eyes. Who knows, maybe it’s one of my best strengths. At any rate, let’s at least recognize the respect and regard that the team behind a set like the Phoenixcall gives to their craft. If it’s me, I’d much rather purchase something that means something to not only the buyer, but to the person who made it as well. So, without further ado…the Celest Phoenixcall…
Purchase Links:
Note: I am in no way in any paid partnership with HiFiGo and never have received any money for my contribution to this review. This is simply a review sample in exchange for honest feedback.
Full Review can also be found here: Celest Phoenixcall
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Quick Unboxing
Upon receiving the Phoenixcall I have to say that I was not expecting so much effort and intricate details placed upon the packaging of this set. I suppose I forgot how well the Gumiho or the Pandamon were meticulously and artistically boxed up. Come to think of it, I should probably involve any other Kinera set that I’ve purchased over the years too. It’s hard not to be at least marginally impressed.First off, the box is gorgeous. Colored in a beautiful purple color with the scene of the birds gathering in the skies on the front cover. A white silhouette outlines the birds in flight with depictions of swirling wind gusts and clouds above. A very serene looking and whimsical type scene which is a giant departure from what us hobbyists are used to. Not that it matters at all as far as the sound (the real reason we purchase) is concerned, but I have to at least respect the effort.
Inside
The box opens up with an elegant magnetic flap. As you Peek into the box, on the left side you’ll find a small rectangular leaflet which describes the story behind the Phoenixcall. Also, right next to that is a sort of a metal charm which Celest calls a “Bookmark” which you can see in the pictures. The bookmark has a scene which embodies the entire theme of the Phoenixcall with a metal cut and hand painted top view of birds flying in a circle pattern.Friends… what level of care and thought does it take to include such additions (beautiful bookmark, gorgeous packaging, leaflet, artistic design etc.), which, are totally impertinent to the actual sound, yet are delicately and skillfully applied to the packaging? Celest didn’t have to add anything. They could’ve simply done what so many audio companies do… Simple box, tips, cable and maybe a carrying case. Celest put care and great thought into something that is completely irrelevant to the audio capabilities of the Phoenixcall. However, I would argue that these touches aren’t irrelevant at all and in my opinion serve the overall aesthetic. In fact, I’d say that these small artistic decorative & ornamental additions are an integral part of the overall theme, and by the way… Celest does a masterful job of presenting that theme.
Moving on, as you look into the contents of the box, you’ll see the gorgeous Phoenixcall earphones presented in all their glory already attached to the cable which wraps underneath and is tucked away in a small black box. Next to that you’ll find a box containing the carrying case as well as the eartips. Really a beautiful packaging and for what it’s worth, great job to the designers and artisans who took part in the whole motif and end result.
Eartips
Celest provides a total of six pairs of quality eartips inside of the packaging, neatly wrapped in those ridiculously annoying plastic bags that we see so often. They include one set (S, M, L) of “Celest C-07 Balanced Tips” which are white silicone tips with a medium-wide bore which are slightly longer for a deeper fit. I think these are comparable in bore size & feel to the KBear 07 tips, not exact but comparable. The other tips (S, M, L) are a gray pair of “Celeste 221 Vocal Tips” which are silicone with a wide-bore and a firm flange and have a shallower fit.
Both sets are very usable for the Phoenixcall and both sets actually make sense and aren’t just random tips thrown into the package for the sake of adding tips. Nice work Celest. Both sets of tips slightly alter the sound. I chose the wide-bore pair as I feel the sound opens up, the treble feels snappier too. This is one of the first times I didn’t have to spend an hour tip rolling. So, for me personally, I do enjoy the Phoenixcall with wide bore tips so not to block any of the nozzle holes at the tip. Obviously, this is just my preference, and I don’t think a smaller bore tip reduces the sound quality, but they do shift the tonality to a degree.
Carrying case
Celest includes a lovely little blue carrying case with the package. It’s rather small. The case is a round case which opens and closes by way of an easy-to-use zipper. Probably just large enough to snuggly fit your precious earphones and cable. That said, it is a very classy case with what feels like faux leather and nice stitching.
I actually think the size is quite nice if you are one to carry your earphones with you in your pocket. I never do this but I’m sure many of you do. The truth is, it’s a nice case that Celest didn’t have to include. I would have been just as wowed without it, but they did the right thing and included one. It is a very nice little addition that fits the overall motif and aesthetic of the package and the utter class of the earphones.
Cable
Oh, the cable! Friends, please trust me when I say that I would never in a million years want any cable with “pink” in it. That is… Until now! The cable is so freaking dope! Just sick! That blue and pink braid fits the earphones to the tee! I really mean every word when I say, “Fantastic job Celest! ”. The included cable is pliable, easy to use, not stiff, not microphonic and completely durable feeling. The cable itself is a 2-Pin, 8-Core, 5N Silver Plated Copper cable which terminates with a 3.5 single ended jack and adorned with stainless steel fittings. Folks, the braiding is so nice as the pink and blue are starkly distinct from each other which to me is very appealing and a perfect addition to the pink and blue earphones. The whole design language has a very trendy yet very ornamental feel to it.
I did have to use a balanced cable for my balanced sources and so I went through many different cables looking for the best pairing. What I landed on was the KBear Chord 4.4. To me it fits the silver lettering of the earphones as it matches the accent colors decently. However, all I really needed was to do its job and that it did. Also, the Phoenixcall does seem to scale to the source as well as additional source power (I’ll cover that later).
Build / Design / Internals / Fit / Drivability
Build
I have to say, I’m normally not taken aback or surprised too often. Much of the time we get run ‘o the mill builds and I’m usually perfectly happy with most any earphone. However, Celest went and totally knocked this build out of the park! Truly! What a nice form, body, and architecture. I haven’t even gotten to the design yet. We are talking about “build quality”. What we have is a completely transparent shell which easily shows the working contents of the Phoenixcall. The build is a beautiful all resin makeup with a durable and solid feel to the. The faceplate is oval shaped, and the shell cavity is a very ergonomically printed structure with deep fitting nozzles. You can easily spot the tube exits at the nozzle as well with four separate holes. Truly a remarkable build and one of my favorites at any price.
Design
This brings me to the actual look of the Phoenixcall. Celest made two different colorways for the Phoenixcall as they decided upon a “Clear” version and a “Reddish/Pink & Blue” version. What a beauty of an iem with a wispy yet resplendent, almost delicately ornate charm. I don’t mean delicate in the build either, more like in the way Celeste conveyed the art depicted on the faceplates. As you can easily see in my pictures, the Phoenixcall is a true piece of art. Meaning, a human or humans, designed this set in an attempt to evoke some sort of emotional response. This set was obviously designed to leave an impression or to wow the consumer. Also, nobody goes to these lengths to create something as lavish in intricate details as the Phoenixcall without taking serious pride in the end result and to how people will react.
Faceplates
I think you have to start with the shining star of the design and that’s the faceplates. They are stunning friends. Underneath a coat of crystal-clear resin, you can see the scene of the divine birds making their way back. There’s a handful of silver silhouette birds appearing in “mid-flight” with miniscule specks of bunched up bluish & purple colored glitter paint which serves as the backdrop. At the top corner of the faceplate is a seemingly deep black void (I’m assuming it is supposed to represent the dark forest) which seems to be where these birds are traveling to.
As I twirl the Phoenixcall in my hands the faceplates will catch the light and with every movement the faceplates light up with different hues of refracted shades of blue. This may not be for everyone; it isn’t the most masculine looking set in the world but for the work and imagination that went into the appearance… I can’t help but think “Job well done”.
Wonderful mistake
Again, the Phoenixcall actually comes in two different colorways. One is the “clear version” and the other is the “reddish pink & blue” set you can see in my pictures. Much to my chagrin, I actually thought I was receiving the clear model, but the pink and blue model showed up at my house. I have to admit I was immediately a bit sour about it until I actually took the earpeices out of the box and looked at them with fresh eyes.Not only is the faceplate awesome looking but the shells are just as great. You can see the neatly laid out drivers inside and clearly see the tubes and the entire inside cavity which is a very cool touch. The design is very creative and different from any set I’ve ever seen, which makes this design kind of bold in a sense. Not everyone will be a fan, for that I’m sure. But for those who can appreciate the creativity I think I can speak for those people and say to Celest… Again, job well done!
Internals
Celest decided to go with a tribrid setup for the Phoenixcall which is not something we often see under $200, let alone under $130. In total the Phoenixcall actually has five drivers per earphone. Celest went with a 7mm strong magnetic coil Dynamic Driver for the low-end, one customized Balanced Armature Driver (10012) for the mid frequencies, one customized Balanced Armature Driver (10021) for the mid-highs and two 6mm flat panel Micro-Planars Drivers to take on the ultra-high areas of the treble. To say that this was an ambitious effort is an understatement. Folks, look at what you are getting for the price, it’s getting ridiculous. The problem with ambitious driver configurations such as this is trying to gather and maintain some sort of coherence between the drivers. As you can plainly see each driver is set with its own sound tube and by all accounts, these are good drivers.
Celest Promotional image
Fit / Isolation
The fit of any earphone is always a very personal & subjective matter. I have zero idea how well the Phoenixcall is going to sit in your ears, but I can tell you how they fit in mine. Perhaps I’m not the best person to relay this info as most earphones fit me, but the Phoenixcall fits me like a glove. In all honesty I don’t know how they wouldn’t fit nicely for the majority of hobbyists either. Celest created a very ergonomic shell design with no rough spots, sharp edges and the Phoenixcall are also very light on the ear so to help with extended listening sessions without any crazy ear fatigue due to weight. One of the benefits of a design such as this is getting very nice isolation as well without much sound leakage too.Drivability
From what I can see the Phoenixcall are pretty easy to drive. Now, I don’t have a smartphone with a 3.5 single ended jack so I can’t tell you how the Phoenixcall will sound with a lower powered device. I can tell you that the Phoenixcall are rated at 32 ohms with a sensitivity of 103 db’s and a supposed frequency response ranging from 20hz-40khz. Using a Bluetooth Dac/Amp such as the IFi Go Blu (CS43131 dac chip) with its very dynamic and slightly warmer tonality worked nicely with the Phoenixcall. Especially when I switched to 4.4 balanced and gave it more juice.Dongle Dacs
Using my Hidizs S9 Pro (ES9038Q2M dac chip), I found it to have plenty of power for the Phoenixcall as they really aren’t difficult to drive to good volume. The pairing was pretty nice between these two as well. The S9 Pro is a warm/neutral sounding dac which is snappy enough to play well attached to the Phoenixcall. However, switching to one of my all-time favorite Dongle Dacs, the Moondrop Dawn 4.4 (also uses a CS43131 dac chip) I truly found an awesome sound and synergy with the Phoenixcall attached. The neutral sounding Dawn, the big power, the dynamic sound was dancing with the Phoenixcall.DAPs
During most critical listening I chose to use the Daps in my possession. That is the more neutral-ish and spirited sound of the iBasso DX240 (ES9038PRO Dac chip, basically eight ES9038Q2M chips) and the warmer, more colored and very resolving Shanling M6 Ultra (AK4493SEQ Flagship). To be honest, the Phoenixcall didn’t exactly sound better with either dap in particular but really does sound great on both. One thing is clear, the Phoenixcall does seem to tighten up with more power and a better skilled source. I think it’s a little more of the latter actually. The Phoenixcall is right at that point where you can either go with a warm source or an analytical source and it won’t hurt you either way. The “Bird” adapts. However, the higher fidelity of your source and the Phoenixcall will reciprocate.The least you need…
At the end of the day, to operate the Phoenixcall it doesn’t take much at all to drive. All you probably need is a decently powered dongle dac at the least. Now, I’m quite positive you’d be able to drive this set off of most smartphones as well. However, you may not get the best sound quality. I would assume if you can afford the Phoenixcall than a cheap and decently powered dongle dac isn’t out of the question.
Full Review can also be found here: Celest Phoenixcall
Sound Impressions
Note: I want to quickly note that I did give the Phoenixcall about 50 hours of burn in and it actually didn’t do much for the sound except some peaks in the upper treble. They don’t come across nearly as sharp or tinsley as they did prior to burn-in. I went back and forth between devices, single ended and balanced and all my thoughts are my own which were taken from actual hours of listening. Let me begin by saying that the Phoenixcall has impressed me quite a bit. I don’t want to keep my joy over the sound to myself. I was thoroughly curious as to how well Celest/Kinera was going to implement these five drivers. This can go only one of two ways folks and by the language of my first sentence, I think you can imagine my thoughts. I was able to check out both the Gumiho as well as the Pandamon and was truly impressed by both. However, to all of a sudden skip to a five driver tribrid was pretty ambitious. Of course, Kinera has been at this audio game for quite some time.
Musicality
Musical…the Celest Phoenixcall is simply musical. There it is, nuff said, everyone can go home now. In all seriousness, this is what the Phoenixcall is to me, if I were to break this set down into one word. “Musical” covers quite a lot and is a very broad word. This must mean that the Phoenixcall has a nice low-end, an energetic and cohesive midrange with some decent note weight and shimmer. This should also mean that the Phoenixcall has a nice treble region which uplifts the spectrum. Musical can mean a lot of things but what it means to me is this… The Phoenixcall sounds very nice to my ears.Milky transparent
This set is definitely a V-shaped set with a warm tonality and organic type timbre. It’s a rich sound, it’s lush, yet the Phoenixcall also has an almost milky transparency. This is a wholly unique tuning from what we hear in most times today with a larger mid-bass hump among other things I’ll explain later. The sound is anything but laid back yet it’s not ultra energetic either. A happy middle ground that has a very nice tonality and timbre with enough vibrance and musicality to keep things interesting. The sound does have some low-end coloration, recessed low-mids, as well as some upper-midrange color. Is it completely natural? Eh, not perfect. Is it really nice to listen to music with? You betcha!The Phoenixcall is both dynamic and technically sound with some good macro-dynamics as well as nice details for the type of tuning it has. Of course, the Phoenixcall is right smack-dab in the middle of an ocean of good to great iems within the $100 to $150 price point. Like usual, this is the biggest hurdle the Phoenixcall has from being considered a very successful iem, as far as sales goes. There are subjective quarks and supposed issues but that goes without saying. Despite that and probably in spite of that fact, the Phoenixcall is one helluva set with a wonderfully emotionally charged and auditorily expressive sound.
Between the 20’s
The bass is beefed up with nice density that can really slam when it needs to. The Phoenixcall is not for bassheads though, not completely anyways. Not fast like BA bass but pretty compact for its size. The midrange has nice note weight and good presence even though there is a scoop in the mids which dials back male vocals. The mids are actually quite clean and songfully harmonious with a nice spritz of sheen in the upper mids. Listening to the treble I find it has good energy but isn’t the most elevated or forward. It’s nicely detailed but also pretty safe apart from some upper treble energy that can get a bit spicy. The sound in general is easy to digest with rich tones, nice vibrancy and technically the sound doesn’t disappoint. In my opinion of course
Bass Region
The bass region has a very respectable and perfectly cohesive emphasis that doesn’t help in the Phoenixcall’s quest to sound “Gentle & relaxed” like they promoted. Actually, this set BANGS! The Phoenixcall is tuned with a larger emphasis, primarily in the mid-bass, but there’s still plenty of sub-rumble. Now, it isn’t that ultra punchy or snappy type bass, and it isn’t the hardest edged, but it is transient tight for the tuning and the amount of emphasis. I really enjoy how the bass melts into the rest of the mix.Nice for the tuning
It certainly won’t be perfect for everyone as it isn’t the most concrete at note edges, but I’d think most people would love that the bass is very nicely defined and clean with good texture. What I really enjoy is that the bass is really just a nice part of a great whole on this set and not the focal point, apart from bass heavy tracks of course. There is nice note definition and the Phoenixcall hits HARD when the right track comes on. Another thing, it isn’t at all a one noted low end. There is a distinction between sub and mid bass. So, no it isn’t perfect but, it’s kinda perfect for the tuning.Sub-bass
The sub-bass has a nicely deep and resonant growl on a track like “What Happened to Virgil” by Lil Durk. The sub-bass has good mass and is quite solid with a satisfying haptic feel. Like I mentioned earlier, the bass isn’t the type which carries a hard edge or a wet edge, but it is certainly robust and sonorous. I liken it more to a hammer wrapped in cotton. Transient attack-to-release is rapid enough, keeping good control with plenty of tactile energy that adds some nice dimension and structure to the sound.Another track is “Home Sweet Highway” by Ashley Mcbryde. The Phoenixcall provides a ton of authority as the bassline drops yet stays completely distinct from the rest of the melody surrounding it. Like I said, control is good, and the sub-bass stays in its own lane without overtaking anything else in the spectrum.
Mid-bass
The greatest emphasis down low most definitely sounds like it resides in the mid-bass. This is without question. The Phoenixcall offers a good amount of slam yet does so in a very clean manner and never seems to disrupt the integrity of the midrange, but instead impacts it in a positive way. For instance, if you put on the right track like “Andromeda” by The Gorillaz which is a melting pot of other frequencies taking part in the song, I found the bass didn’t muddy up the sound at all. All I heard was clean and heavy bass rhythms that I could feel as well as gear and clean instruments and vocals surrounding that bass.“Mammamia” by Måneskin has some heavy mid bass kick drum activity surrounded by hard metal with very swift and precise conjunctions of different instrumentation and the bass hits fast. I noticed the deftness and dexterity that the 7mm DD was able to attack and release with, all the while there is this sense of solid and bulbous immediacy to the sound. The thing is, it isn’t at all overdone and I don’t hear any distortion or anything flabby or soft. Bass guitar has a deep and meaty drone as seen in “Groove” by Ray Wylie Hubbard. This song rattles with a tight haptic buzz but also has some meat to the sound which is obviously helped by the mid-bass rise.
Downsides to the bass region
As far as issues pertaining to the low-end. There are surely going to be plenty of people who do not enjoy the hefty low-end that the Phoenixcall has. I likened the bass to a hammer wrapped in cotton as it isn’t the most solid at the note outline (at times) and actually is slightly flattened out and not as forward as you’d think. I suppose this has to do with the 7mm driver. One thing I will say is that with more power and at louder volumes I find the 7mm driver comes alive and almost tighten up a bit. Also, bassheads will likely want even more oomph down low.
Midrange
The midrange is a harmonious effort by Celest to create a fun V-shaped set that doesn’t lose out in the midrange. What I don’t hear is some ultra recessed and dull midrange either, even though there is certainly a recession in the low-mids to mid-mids. Due to the mid-bass shelf, we do see a very slight warming of the lower midrange which in my opinion only benefitted male vocals as well as instrumentation, but I’ll get further into that next. The mids are very well separated with very good placement or imaging. The mids have nice coherency between all the different drivers without any glaring tonal shifts. Celest actually provided nice coherency as there is a fairly natural Blanding of the frequency.I think that Celest took a V-shaped sound that has a colored type of approach and made it relatively organic and clean in its timbre. Some areas in the upper-mids come across slightly less natural but I’m not complaining. Transients are swift enough to not feel congested and the sound as a whole is very lush and somehow also pretty transparent. The midrange is also better detailed than most, but I’ll explain that more in a bit. Males sing with authority and gravitas while females are captured very well replaying the breathy nature of some or the powerful ballad of another. Is it perfect? No, it isn’t. There are some sets born and bred for the midrange. Is it very good for a V-shaped set? Yes, it is.
Lower-midrange
Males have the benefit of some added warmth from the low end, yet without the veil which sometimes can be associated with extra warmth. I believe they needed this extra body as there is a recession which pulls back this area of the mix. However, I don’t find the recession here to be much of an issue. In fact, males come across very well bodied with great note definition and actually sound pretty natural to life, in my opinion. Perhaps a hint held back but not attenuated or dull and not misrepresented.“Where I Find God” by Larry Fleet found a home with the Phoenixcall. His voice is naturally edgy with his sharp southern drawl yet stentorian sound. Concurrently, this is exactly how the Phoenixcall renders the sound of his voice. There’s a certain measure of ductile solidity and control as Larry hits those higher chords and his voice doesn’t come across metallic or coarse as with most iems. The extra body and cleanliness help to distinguish the low-mids to where any recession isn’t really a problem at all. Still, if possible, it would be nice if Larry’s voice was a hair more forward.
Low-mids cont.
Dermot Kennedy in the song “Rome” is emotionally gripping and it’s a requirement of an earphone to be able to capture this. You need some weight, you need some warmth, you need a crisp note edge, you need some good presence in the mix, some shimmer for the instrumentation and it’d also be nice to have good separation. The Phoenixcall does a decent enough job of nailing all of those prerequisites but adds some extra depth to the sound as well. It’s very easy to see that the Phoenixcall does pretty nice with male vocalists, whether bass, baritone, tenor and every type in between they really aren’t bad for a V-shaped set.I also love the Phoenixcall on the track “On My Way to You (Live)” by Cody Johnson. His vocal inflections are highlighted with a certain gravity that you can somehow feel. Perhaps in the bass of his undertones. Yet the intonations and cadence in his voice sound naturally structured to me.
Upper-Midrange
Females sound more forward and more vibrant than males. They are uplifted and carry some good energy. Not perfectly natural but very captivating. The Phoenixcall has this cultivated ability to take a breathy singer like Gabrielle Aplin in “Half In Half Out” and replicate it well. She comes across very cleanly and vividly. The Phoenixcall is able to highlight the sensuality or sweetness of a female voice very well.The track “Sensitive” by Megan Trainor can be a hint sharp during the chorus but there is some great and illuminated shimmer, almost a luster to this track. Certainly, there are sets in the price point that specialize in vocals which in my opinion nail down a female voice a bit better, but the Phoenixcall has this all-around ability to represent each area of the mix well while doing a damn fine job of replaying most any female voice.
One thing the Phoenixcall also adds is some spice in the upper midrange that some may be turned off by. For me personally, I don’t find it a problem, but it can sound a bit abrasive on some instruments and voices that hit those ear gain peaks. There is a give and take with any set and this is one area that some may be more susceptible to wincing. Again, I honestly don’t find it too sharp, I feel the Phoenixcall goes right to the ceiling of what is tolerable and stops short of breaking through that floor.
Instruments
As far as instrumentation, these thoughts are greatly generalized. Keep that in mind. A lot of how a set sounds has to do with the actual recording or track, and also what source one is using makes a large difference too. That said, Instruments come across with nice note weight. This helps for piano to sound tuneful and bodied. Strings, for the most part, are actually nicely detailed with good harmonics. Percussion, like snares have a nicely sharp “pang” while the fundamental body of cymbal strikes are nicely rounded on most tracks. Again, these can change track to track, I am generalizing. Anyways, there are some instruments which partake in the upper areas of the midrange which can begin to sound less natural but for the most part I have nothing bad to say.Downsides to the Midrange
In my mind, I think the biggest drawback of the mids would be the upper mid glare. Now, this will not be a problem for many hobbyists, and I only bring it up because it can occur in certain situations and some folks are very sensitive to it. Certainly not the norm. If you fancy a more neutrally tuned midrange than you may have issues with the Phoenixcall. Also, there is a recession in the midrange which effects the low-mids the most but honestly, I didn’t find issue with it. Still, some may think this is a bigger issue. I can tell you that with my library of test tracks it was almost a benefit.Truthfully, I think Celest did a fantastic job with the Phoenixcall midrange. I hear no sibilance at all, nothing at all metallic, without any BA timbre showing up. The sound is lush, weighted and smooth yet decently detailed, resolute and very musical.
Treble Region
The treble region is well executed, and one thing is for sure, Celest did great in blending the customized Balanced Armature with the two Micro-Planars Drivers. Another thing is for sure…those Planars are putting in work! Now, before I go further, I just want to say that the treble is not boosted to the max. There isn’t any forced resolution from any arbitrary lift in this region. The treble actually sounds pretty true to life. For the most part. There is almost a laid-back quality to the treble that I find non-offensive to my ears, all the while representing this region with enough of a lift to bring up the entire spectrum to a degree. Not too boosted and not too boring and dull. Celest did a nice job here folks.Examples…
The treble has a nice crispness to the leading edge at attack when needed and is very well detailed for not being overly boosted. Listening to Billy Strings “Ice Bridges” I am impressed at how speedy the Planar treble can be and how well they keep up. However, they don’t just keep up, they sound good in the process. Billy plays his banjo at breakneck speeds at times and not every set can complete every note and separate those notes, the Phoenixcall can. There is a roundness and punch that the Phoenixcall has up top which really ties a whole track together.In the track “Don’t Say it’s Over” by Gaz Coombes the treble notes have a nicely bodied sound that doesn’t come across unnatural or tizzy at all. I don’t hear any sibilance either. There is a nice sparkle in this track which didn’t require an unnecessary boost. Also, I found the sound to be very melodic to my ears rather than processed sounding. More smooth than crisp but still very well defined on each and every treble note.
Another quality trait up top is the Phoenixcall’s ability to render details and all the micro-minutiae that really can take a track over the top. The resolution up top is very nice mixed with the speed of the drivers definitely helps to boost the macro and micro-details within the treble. Not class leading but very nice, nonetheless.
Downsides of the Treble Region
The treble is, in my humble opinion one of the better aspects of the Celest Phoenixcall. However, nothing in this audio game reaches perfection and thus…there are some subtle subjective issues. First off, there are some timbral issues on some instrumentation in this area. Granted it would take a keen ear to really hear such a thing, especially when casually listening. Also, the Treble could actually use a bit more roundness and structure. Again, these are things that most won’t even think to look for and it is a very picky thing on my part.
Technicalities
Soundstage
The soundstage is well laid out and pretty vast. It certainly isn’t congested or small at all. I found that width is above average as well as height, and the depth of field that the Phoenixcall has is actually quite nice too. There is definitely depth there. Obviously, depth isn’t the easiest thing to figure out all the time. I listen for layering and try to imagine where instruments and elements of a stage are positioned. Going through my tracks I’d say that the Phoenixcall is tuned to have a nice sized stage that won’t disappoint. This is evidenced in the song “Hook” by Blues Traveler. The song fills my entire mindscape from ear to ear with just as good volume at the outstretch of the field of sound as I hear in the center of it.
Separation / Imaging
As far as the ability of the Phoenixcall to separate elements of the stage, such as instrumentation and vocals; the Phoenixcall is very well done within the price point. At least from the sets that I’ve had the pleasure of listening to. I find it very easy to discern every distinct instrument providing the recording I’m listening to is halfway decent. Imaging is the same, very well laid out. Right to left and front to back seems spot-on with nice layering of sounds. There are multiple likely reasons for the Phoenixcall to excel in these areas and part of those reasons is the highly resolving sound, the nice transients and the drivers working so well in tandem to create a well laid out imaginary scene. The only time things begin to blend even slightly is in bass heavy tracks, but even then, it’s rare.Details
Detail retrieval is fantastic in the upper portions of the mix and quite nice in the rest. The sound is clean, separated, open, and pretty quick for having such a warm and smooth V-shaped tuning. Truthfully, so long as you aren’t listening to some bass heavy track then I think you’ll really be impressed with the Phoenixcall and its ability to draw the small stuff to the surface. I pick up tiny details that get missed on other sets. Thumbs up here for sure.
Comparisons
Letshuoer X-Gizaudio Galileo ($109)
Oh, the Galileo! How I have enjoyed you. Truly a wonderful iem at an awesome price which is so very competitive on the market. The Galileo comes equipped with a hybrid setup of 1DD & 1BA. Built decently yet absolutely gorgeous the faceplates on the Galileo are very striking. Yet the build may leave a bit to be desired. Not bad though and good for the price. The Galileo is actually the lovechild of a collaboration effort between Letshuoer and Timmy Vangtan of Gizaudio (YouTube channel). It’s a great set with a more neutral and smoother take on tuning which is very nice to hear.
Differences
Let’s begin with build quality. This is a pretty easy thing to spot, the Phoenixcall is surely the better and more premium built iem of the two. I also happen to think the Phoenixcall is the better-looking set, but it could go either way. Certainly, the Phoenixcall is the more artistically inspired iem. Both sets offer great comfort, and both can be worn for hours with no issue. Now, the Phoenixcall has the warmer yet more resolving sound while the Galileo is less dynamic and closer to neutral.
Bass Region
As we look at the bass region it is pretty evident that the Phoenixcall has much more of a haptic rumble and bass slam. The Phoenixcall simply was tuned with a greater emphasis. The Galileo has a softer note edge and a smoother low end to the Phoenixcall’s robust and decisive low end. The Phoenixcall flat-out hits harder and has a lot better authority to its sound next to the Galileo. Better textured and cleaner.Midrange
The Galileo begins to show it’s worth in this area where the midrange sits more forward as the Galileo almost specializes in vocal delivery. One thing is for sure the Phoenixcall can’t pull off the natural sounding and smooth vocals like Galileo. Galileo is certainly more forward in the low-mids yet with a thinner note body to a degree. The Phoenixcall on the other hand is warmer, thicker and certainly has better note definition. The upper mids have a relaxed sound on the Galileo whereas there is a touch more energy with a more vivacious sound for the Phoenixcall. The Phoenixcall also has a more technical sound in this area. Though, I would say the Galileo has a more tonally accurate upper-midrange.Treble Region
The treble region of both sets is nicely done. Both are more laid back but out of the two the Phoenixcall has the better detailed experience. The Galileo has a smooth treble which glides over the intricate details in my music. This doesn’t make it worse either. It’s just tuned for ease of listening over everything else. The Phoenixcall is snappy, has a bite to it up top and has better definition to notes.Technicalities
As far as stage size I’d give the nod to the Phoenixcall. Slightly wider (but that’s up for debate) about the same in height but the Phoenixcall has the upper hand in depth of field. Separation is better in the Phoenixcall as well with superior imaging. Of course, details also go to the Phoenixcall.In the end
looking at these two iems I find they are very different from each other. I find the Phoenixcall a bit more musical and dynamically charged with larger macro-dynamics, bigger bass, snappier treble. The Galileo is the carefree Sunday morning type listen with vocals that will melt in your mind and nothing overdone. Both are tuned very well but both are also tuned very much different which should attract a different style listener. For me personally,Hidizs MS3 ($169)
The Hidizs MS3 is surely one of the best iems in its price point so long as the tuning fits your preferences. I for one adore this set. I actually reviewed it a couple months ago HERE. However, it is certainly an iem that anyone who is thinking of picking up the Phoenixcall should probably also take a look at. The MS3 is a three driver Hybrid with 1DD & 2BA’s and is an absolute overachiever. The MS3 comes equipped with three different tuning nozzles to change up the sound to your liking. Truly an awesome set.
Differences
As far as build quality is concerned, both sets are built quite differently, and both are equally as impressive. The MS3 has an all-metal design and is built like a tank while the Phoenixcall is all-resin and absolutely solid. Both are fantastic. It all comes down to preferences really. Obviously the Phoenixcall is a bit lighter and the MS3 is a bit heftier. Both sets offer a premium design, premium accessories and both are contenders for anyone’s interest in the price point. Now, the MS3 is about $40 more but close, nonetheless. The MS3 is more Harman tuned while the Phoenixcall is more V-shaped. MS3 is not as warm in tonal color as the Phoenixcall.
Bass Region
Beginning with the bass region I find the Phoenixcall to have more sub-bass rumble & slightly more mid-bass impact and slam. Both sets offer a nicely dense rumble for different genres. Honestly neither are better than the other as both sets offer a clean and dynamic bass. Probably the Phoenixcall has a slight bit less clarity, but it is marginal at best. Phoenixcall certainly is closer to basshead than the MS3. However, both sets can bang, both are rather detailed, and both are not simply “one-noted” affairs.Midrange
The lower mids of the MS3 are more forward compared to the Phoenixcall yet for whatever reason both flavors the sound nicely. I truly don’t know which I like better. The MS3 may be more forward but also, they are thinner here. This flips when speaking of the upper-mids and female vocals which come across a hint more forward on the Phoenixcall. What we have is two different approaches and coincidentally both are truly wonderful tuning options. I’d say the MS3 is a bit more linear across the midrange while the Phoenixcall has a bit more dynamism as well as a thicker note weight. Both are rather well detailed in the mids.Treble Region
The treble of both sets is nicely accentuated and, but the Phoenixcall has the snappier treble with a bit better treble bite. I think the difference between the Planars of the Phoenixcall, and the BAs of the MS3 begins to show its face when a/b comparing them. The Planars are simply faster it seems with a tighter transient attack. The MS3 is smoother up top and a hint less fatiguing. Both have their ways of depicting the upper regions and again, I like em both. I will say that the Phoenixcall has better detail retrieval and is a bit more technically sound. However, the MS3 probably has the more natural timbre.Technicalities
As far as detail retrieval I would hand that to the Celeste Phoenixcall. It simply resolves some of the subtle little things better. Not by some monumental amount though. The Phoenixcall separates elements within the stage better and imaging in my opinion is a bit better on the Phoenixcall. However, I feel both sets offer a more holographic stage that is above average in size.In the end
These are two dope sets friends. If you asked me, I couldn’t tell you which I like better. The Phoenixcall is a bit more auditorily expressive with bigger dynamism and the MS3 is a bit better balanced across the mix. Both sets are very musical. Honestly if you told me that you liked the MS3 better I would understand why. In the same breath, if you told me that you enjoyed the Phoenixcall more… I’d get it. Both are fantastic.
Is it worth the asking price?
This is probably one of the easier questions to answer for me because I believe the Phoenixcall is very much worth the asking price. I’m not saying it’s a kilo-buck buster, but the Phoenixcall is easily worth the $129 that Celest is asking for it. I wouldn’t necessarily say it should compete much higher price points either as it is priced fairly as far as sound is concerned. Still, even with all the competition in the price point… the Phoenixcall seems to excel.Folks, think of all the tribrid iems that sit pretty under $150…I’m waiting. “Surely there are loads of DD/BA/Planar sets that will rival the Phoenixcall”? The truth is, the Phoenixcall is a unique iem that is very good for the price. Yet there are certainly issues with the tuning as it isn’t exactly balanced across the mix and will likely be at least somewhat polarizing to the community. Despite that, it sounds great in my opinion.
The Why
The Phoenixcall is an ultra-unique iem that looks like nothing else in the Audioverse. The theme is genius, along with a design language that is completely fresh, unbelievably dope, and totally clean looking. You get a nice set of accessories with nice tips, a case that is pocketable and one of the better-looking cables in the price range. Really though, my friends…it’s the sound which I feel truly puts this $129 iem within the top heap of its class of competitors. Of course, this is a wholly subjective opinion and statement. Like I said earlier in the review, the Phoenixcall is simply musical, and every other benefit of the tuning is simply icing on the cake. I truly don’t think that you can go wrong with this set for the asking price.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Celest Phoenixcall ratings below, that would be $100-$150 iems in any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $100 – $150 US is a HUGE scope of iems. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.0-Look: 9.9
-Accessories: 9.9
–Overall: 9.6
Sound Rating
-Timbre: 8.5-Bass: 8.9
-Midrange: 8.9
-Treble: 9.5
-Technicalities: 9.5
–Overall: 9.1
Ratings Summary:
To receive a 9.1 overall in sound quality in this loaded price bracket of $100 – $150 US is a pretty big deal. If you read my little note before this section than you know that these ratings are garnered against any iem type or any driver configuration. Obviously, I feel that the Phoenixcall is at the top of the heap as far as iems go in this range. However, there are some questionable judgments on my part. That just goes with the territory though. However, I stand by my ratings as I deliberate for way too long on them. If any of you have read any of my reviews, then you know I hate ratings. They tell nothing of nuance and simply judge portions of a “thing”. But you all seem to like them, I certainly hope you read my “Notes”.Questionable calls…
So, the questionable calls on my part begin with “Timbre”. There are some subtle timbre issues in the upper midrange and parts of the treble. Perhaps they will get worked out with further tips changes or more play time (burn-in/listen-in)? Still, I say that timbre is an 8.5 but in reality, I like the timbre as it is. I would give it a 9.7 for me personally! I like the color; I like the added emphasis. Still, it isn’t completely natural so…8.5.Also “Midrange” gets a lower rating than what I would personally give the Phoenixcall. If this was ‘to me‘ and ‘for me‘, I would give the Phoenixcall a score of over 9.5. I like the middrange and feel that Celest did a remarkable job, but if I’m judging in an audiophile and bland way, I have to give it a lower rating for the recession in the lower Mids. There are sets that specialize in this region that do definitely do it better, so I dropped the midrange score down to 8.9. Folks, I sit for way too long thinking about this mindless stuff and it’s all for you. I hope you feel special! There are other very debatable scores, so I don’t have an issue with anyone who disagrees. In fact, it’d be odd if everyone did agree.
Conclusion
To conclude my full written review of the Celest Phoenixcall I want to thank the store HiFiGo who are so great to work with. They have awesome people, and their catalogue of products is freaking huge! Anyways, thank you to them and thank you to Lvy as well. Also, thank you to anyone who chooses to read any word that I write. You put your trust in me to tell you exactly what I think, and you put your faith in me that I am being honest with my thoughts. This mean a lot to me, and I take pride in keeping my integrity in-tact. So, thanks.However, if you’ve read my words than please get right back on the web and read other thoughts as well. Don’t just stop at me. We are all so very much different friends. We all have different likes and dislikes, different music libraries, different gear (important), different hearing, and we all haven’t been down the same audio journey (most important). What one person thinks and feels is only correct to them, please remember this!! We are individual and human and not even one of us are correct across the board. Even those that you’ve placed on an audio pedestal, they are only correct as far as their own ears and how it’s perceived into their own unique temporal lobe. Thats just the truth.
Take care, stay safe, God Bless
I love to write; it is a fantastic escape for me to spill my thoughts out to you people and with all my heart I simply want to help you out in a purchasing decision. Besides a review unit (sometimes), I get nothing for these reviews’ friends, I am paid nothing as well and wouldn’t accept if I was offered. I do have a good day job and a couple measly dollars isn’t worth my integrity…ever! Well, that’s all that I have to say, please take care, stay safe and always…God Bless!
Ceeluh7
Thank you very much! That was kind man
BASN ASONE Review
BASN ASONE
Intro
Hello, today I am reviewing one of BASN Audio’s latest iems, the “BASN ASONE“. The ASONE just so happens to be a planar magnetic driver iem that I have been eyeing up for quite some time. So, I thank BASN for providing the ASONE for a full review and feature at Mobileaudiophile.com. I have to say that I’ve been impressed with the ASONE, and I am quite surprised that we don’t see more out of this company within the community. I’ll just get this out of the way right now… The ASONE is a nicely tuned set which quite easily stands next to the better sets within the price point as far as planar iems are concerned. In my opinion of course. This company is quite new to me although I’ve seen their iems floating around Amazon US for a long time. I just never took the plunge and purchased anything. I suppose BASN is certainly worth looking further into.BASN
The audio company BASN has been around for quite some time and seem to specialize in gear for stage use. They have created many iems in the past with sets like the Bmaster, Bsinger, Metalen, Bmaster 5, as well as their planar series featuring the Asone (the set I’m reviewing today), and top tier model, the MTPro. There also happens to be some off-shoots to some of their sets which you can find by visiting the BASN website. From what I can tell this is a company who is looking to get more into the casual listening side of the business rather than strictly for stage use purposes, which is where mobileaudiophile.com comes in. Take that as a grain of salt though as it is just speculation.I hope to find out just how well the ASONE competes in the $100 to $200 range of planar driven iems and hope to explain the sound in a way that will help prospective buyers. So, without further ado…The BASN ASONE….
Purchasing links:
–Amazon–BASN Audio
-Also check out all of BASN products HERE
The BASN ASONE paired with the Shanling M6 Ultra creates great synergy
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging & Accessories
I was not expecting what I found when going through the unboxing of the BASN ASONE. It was quite impressive actually. I mean, my mind wasn’t blown but BASN offers a nice package. First, the box is rectangular and of pretty good size. The box itself is a white box with a sleeve and on the sleeve is a picture of the ASONE as well as some specs. Nothing crazy there. However, once you slip off the sleeve and open the box there is a nice bounty of usable accessories inside. The first thing that jumps out at you is the earphones themselves and secondly, you’ll notice the high-quality carrying case. There are also two cables, one with a mic and one without, nine pairs of eartips, a cable clip, nozzle cleaning brush, mmcx tool, as well as a ¼” adapter. In total I am very impressed with what you receive for $149. All accessories are high quality which I seldom ever say under $200.
Carrying Case
One of the cooler elements of the unboxing is an extremely nice carrying case. Ya know, in almost every review that features a case I will remark on how I don’t use them often. However, I am going to have to take that back. Friends, the provided case is phenomenal. First off, the case is all aluminum alloy with a classy, ribbed top and the name “BASN” imposed in the center. Opening the case, you’ll notice the stainless-steel latch which is a nice feature. Inside is very neat as you’ll see many pockets to store your gear and please trust me, you have a ton of room inside. At least enough for a couple earphones, a dongle dac etc. Truly a gorgeous case that other companies need to follow suit on. I will most certainly use the BASN carrying case and I have to say, job well done BASN!
Eartips
Another surprise was the eartips provided by BASN as they added nine pairs in total and all are nice quality eartips. I received three pairs (S, M, L) of your regular “run ‘o the mill” white silicone tips with a semi-wide bore and a sturdy flange which are very usable. I also received three pairs (S, M, L) of Triple Flange eartips and they too are sturdy and not flimsy with a good feel to them. The last set provided in the packaging are three sets (S, M, L) of foam tips and once again they are actually of good quality. Folks, I have to hand it to Basn as they actually provide usable and good quality eartips which is not a common occurrence.
What I used
I love all the stick tips, but I did notice the ASONE didn’t respond as well as I liked to my ears, so I began tip-rolling and ended up using the KBear 07 tips. If you’ve spent any time reading any review that I’ve ever published then you’ll know that the 07’s are pretty much my go to in most situations. I found the 07’s gave a hair more openness in the upper mids and helped the bass to have a bit more of a concrete punch down low. Not that there’s anything wrong with the included tips, I just didn’t get the seal that I wanted. For all intents and purposes… Nice job BASN!
Cables
As far as cables are concerned, BASN includes not just one, but two cables in the packaging. One of the cables provided is an MMCX 3.5 single ended cable with a mic for phone calls. Easily one of the better mic’d-up cables I’ve ever received. I have not tested the mic and controls. The 2nd cable included is a beautiful brown MMCX 3.5 single ended, Single Crystal Copper cable with a very nice Litz woven structure. This is a cable which is fitting of the price and is actually very nice. This happens to be the cable I used for any 3.5 single ended listening. However, when I turned to balanced sources, I decided to use a white MMCX HifiHear balanced cable which you will see pictured in many photos. Honestly, BASN obviously understands that cables matter and it was very nice to see quality cables provided. I wish more companies understood this and thankfully at least BASN does.
Build / Design / Internals / Fit / Drivability
Build Quality
As far as build is concerned the ASONE is made completely of a plastic resin material which was likely decided upon for the purpose of weight and keeping the ASONE light in the ear. I do think that BASN succeeded in this effort. I will say that although the plastic is light, it is also pretty durable feeling. The build is really well constructed in my opinion. Make no mistake though, we have certainly seen great build quality in this price point. In fact, we’ve seen amazing builds on far less expensive iems. In this situation, the build quality serves the purpose for which it is made. The feel is still structurally sound, with no burs or manufacturing defects. I’d say that BASN nailed what they were going for. It’s light, ergonomic enough, and comfortable on the ear. For a plastic material…the ASONE is nice.Also, the nozzle is of medium length and BASN incorporates a nice metal grill at the nozzle tip. In the top you’ll see the MMCX female connections where the cables attach, and they seem to be of good quality, nothing loosey-goosey. Not bad at all.
Design
One thing I thought right away was the unique and boujee type design of the ASONE. The ASONE comes in five different colorways. The set that I received is the only “all clear” set as the color is… clear. The other colors to choose from are Pink, Gray, White & Blue. All colors were well chosen as each has a splendid look that shows off the build design and aesthetic very well. The faceplate area has a very cool honeycomb style pattern that I have never seen before this set. I adore the clear set that I have as I can see all the inner workings of the ASONE but I do think that all colors are very nice. The ASONE is a dope looking set friends, I truly think that BASN did a fantastic job designing something that the market hasn’t really seen. Peering into the bottom side I can see the complete driver.Internals
BASN has obviously included a nice driver inside the ASONE as they employ a large 14.2 Planar Diaphragm incorporating a Double-Sided Array N52 Magnet. The ASONE uses a total of fourteen magnets to exact the sound the way the BASN wanted to. The Diaphragm itself is only 2 microns thick which is impossibly thin. Like I said, the driver is obviously a good driver and not one which I’ve heard distort or become grainy and it’s a driver which certainly can take some power.Fit
I have no idea how the BASN ASONE is going to fit you, but as for myself they fit very well, once I get a good seal that is. In truth, I can’t imagine many folks having an issue. I should also add that once the ASONE is seated in the ear well they feel as light as it gets. They are a very comfortable iem and I’m fairly positive that most any hobbyist would think the same. We are seeing less and less enormous planar magnetic iems and the ASONE is proof of that. Another thing happens when a good seal has occurred and that is isolation becomes very good. Not only do they isolate and attenuate outside noises but there is very little sound leakage to the outside world.Drivability
The BASN ASONE is rated at 16 ohms and a sensitivity of 100 db’s. For a planar they are actually pretty sensitive. Without question they will run very well off of a simple “decently powered” Dongle Dac but does thrive with added juice. Let’s put it this way, using the IFi Go Blu on single ended was fine but the sound wasn’t as refined as it was on 4.4 balanced with the ASONE. The extra power did help. Also, I used the Hidizs S9 Pro on single ended and obviously it’s enough to drive the Asone perfectly fine, and all sounded great, but the second I used a 2.5 balanced cable and pushed the power a bit it was obvious that the ASONE scales-up well. The Moondrop Dawn 4.4 running 4.4 balanced was really a perfect set-up. Both the power, tonality, and dynamism of the Dawn mixed with the warm resolve of the ASONE made a very nice match for mobile listening.Daps
Moving up to daps I did some listening with the very nice included 3.5 cable and the sound was truly great with both of my more powerful daps that I use for testing. That is the iBasso DX240 and the Shanling M6 Ultra. I always listened on either medium or high gain on both and found this was the best way for a dynamically expressive and big sound. Out of the two daps I enjoyed the Shanling paired with the ASONE as I had a more natural timbre with its AK4493SEQ dac chip. Synergy matters friends.In the end
So, in the end you will have a perfectly adequate listening experience with a simple Dongle Dac, and you’ll be all set! I feel the ASONE does scale very well with power but mostly the ASONE scales to the quality of the source. If you attach it to a more sonically gifted source, then you will have a more sonically appealing listening experience. I will also add that any source that I have with a lusher and velvet type of sound paired the best with the ASONE. Granted, I have all types of tonalities throughout my sources, and I truthfully didn’t hear anything that sounded horrible. I just think that the timbre equals out with something warmer, and you’ll have less planar timbre than with something more neutral and analytical. Hence the difference between the DX240 and the M6 Ultra. The DX240 is closer to neutral whereas the M6 Ultra is a warmer and more lush sound.
Sound Impressions
Note: All critical listening was done after a lengthy burn-in. I also did some tip-rolling using the KBear 07 large sized tips. All critical listening was done using both 3.5 single ended sources as well as balanced sources. All of my music is flac or better files which are stored on my devices. Burn-in
I just want to preface this entire section with… The BASN ASONE needs a lengthy burn-in. I know that many of you have feelings towards burn-in but there is a definite tightening up of the bass region as well as a reduction of planar timbre. Planar timbre is something that is unmistakable and easy to spot, so when that timbral issues goes away after a long burn-in… well… I guess there isn’t any more confusion about the topic. I gave the ASONE about 120 to 150 hours (roughly, best guess) of burn-in mixed with some “listen-in” over the course of a number of days. This review would actually have been completed about a week and a half earlier if it wasn’t for the lengthy process.Completely surprised!
I was actually completely surprised with the overall sound quality of the ASONE. Let me start by saying that the ASONE features a musical sound yet also has a nicely technical sound too. More melodious than it is analytical though. The sound is big, full, yet also clean & airy with some rather large macro-dynamics for a planar iem. I love surprises like this as the ASONE “looks” completely unassuming and if I’m being honest, I did take it for granted. I won’t make that mistake again.The ASONE has a warmer sounding Harman type replay with very good dynamics and a nicely resolute replay. A few words which come to my mind are… Incisive, fervent and emotive. The sound is direct, clean, and has nice vigor or energy, but does so in a warmer, rhythmic, and melodic setting. The ASONE carries a certain warmth, yet the sound isn’t at all veiled. The sound is smooth but clean, atmospheric but also a detailed replay. I realize these descriptors all sound like subtle contradictions but as I sit with them in my ears these are the words which make the most sense. Believe me, this one took me by surprise.
Peanut sized sound impressions
The bass is big and deep for a planar magnetic earphone and it’s tidy per its size. The midrange is recessed to a slight degree, especially in the lower midrange but I also hear very nice note weight and vocal clarity. Despite the recession or midrange scoop, I found good presence and spacing. Females come across leaner and more forward, but also, they have some gleam and shimmer to them that males don’t always have. Sibilance is not a problem, and neither is there any great shout to my ears. The treble is actually well extended with some nice treble bite which is also something I didn’t expect. Details are nice so long as bass isn’t prioritized in the track and the stage is larger than average with nice imaging.There are some shortcomings, as with any iem, and I will do my best to spell those out to you from my vantage point. Still, whether there are subtle subjective issues or not, I’m hearing a very nicely tuned and dynamic, Harman style sound. Without question this sound will not be for everyone. Some will say there’s too much low-end emphasis, some may prefer a more vocal or mid-centric replay, or some may simply desire a more neutral sounding earphone. For what it is I think that BASN put together an appealing effort that should spark some interest and suit many hobbyists. So far so good, let’s check out each 3rd of the spectrum.
Bass Region
Folks, I will always be partial to a dynamic driver low-end. I think I’m not alone in that assessment. There are textures and timbral cues that a dynamic driver can exhort that other driver types simply have a harder time producing, so it seems. I don’t mean they “can’t”, but it’s simply a tougher task. DD’s have a certain depth and density that you cannot always get with other driver types. It doesn’t necessarily mean Dynamic Drivers are better either. We all have different tastes. The ASONE however, comes very close to a dynamic driver sound in the lower regions. There are only a few other planars that get close, and I can say that this one trades blows down low with those sets. Sub-bass
Beginning with the sub-bass and a track like “Groove” by Ray Wylie Hubbard, the bassline is the focal point of this track, and it quickly became evident to me that the ASONE can represent very well. I like the way that the ASONE is able to interpret that growling and gravelly sound while keeping in good control. From the genesis of each individual note to the release, there is a concreteness or conciseness at the leading edge through the release. Compact is a word which comes to mind. For instance, “Jealous” by Nick Jonas hits right away with a very deep and tactile boom, it’s compact. Listening with the ASONE I enjoy its ability it has to render a clean and tight bassline like this. You can hear the planar agility with a dynamic driver type boom and textured sound.The sub-bass really does add a sense of haptic “feel” to any track which demands it, without overdoing it. I don’t hear anything lean or fuzzy and certainly not laid back in the lowest of lows. I think if you enjoy a more-fun representation in the sub-bass area and you listen to genres which cater to this type of bass then I’ll go out on a limb and say you’ll probably enjoy it.
Mid-bass
The mid bass has some nice slam without spilling over too far into the midrange. Just enough I’d say. Enough to give some body to vocals and bass guitar (I’ll cover that in the “midrange”). As far as quantity, I feel the ASONE was tuned for fun and to make your head bob to your favorite track. It hits hard! No doubt about it. About 27 seconds in on “Uncle M” by Young Thug there is this penetrating and authoritative bassline which has some serious boom listening with the ASONE. Despite the emphasis on this track, I also hear a tight decay that doesn’t impede upon Young Thug’s lyrical skills. “On Melancholy Hill” is a track by the Gorillaz which is another example of the “speed-meets-quantity” coupled with very good control as the bass sort of “stays in its lane” … in a manner of speaking.The ASONE has some oomph my friends. The ASONE can bang! Again, I find the quantity of bass doesn’t hinder the attack speed yet still decays with enough lingering harmonics to have some atmosphere attached to it. Deeper in density than the Raptgo Hook-X, but in no way is it a muddy bass for my preferences. The bass has some meat to it… some gusto. The low-end goes deep with good extension and a good slam. Just short of Bass Boi territory. This is not some forced & cheaply boosted low-end either. Better said, this bass isn’t simply arbitrarily over-emphasized to appease the mainstream. The bass has control and fits the overall tuning very well. Bass guitar has plenty of meat and presence without sounding too full or bloated. Also, depending on the track, kick drums have that satisfying hollow boom with the tacky wet edge. Pretty nice.
Downsides of the Bass Region
Without question this bass will not appeal to everyone. It’s accented and colors the sound. It isn’t the most natural sounding low-end either. Fans of a more neutral sound will probably desire less down low and those who simply detest bass presence and coloring in their midrange will likely not completely enjoy the ASONE. Do you want something fun? Do you want something that will help to move your feet and bolster any track with a bassline, bass guitar, kick drum etc.? If so, then you may want to stick around.
Midrange
The midrange comes across warm, with a resolute and dynamic sound. It sounds smoother overall rather than crispy. Not dry at all and not analytical I would say. There is some recession in the midrange with a slight scoop to my ears. However, I don’t find this scoop to be a problem, as there is a very nicely textured sound for the price which sounds more natural than it doesn’t. I always look for at least marginally good vocals and midrange presence and I feel the ASONE doesn’t lack here at all. What we have is speedier transients yet with nice note weight, sound field depth and details are nice. Lower-midrange
Males come across with a good amount of warmth. Warm enough to sound organic and bodied enough to have a physical intonation and realism. There is the slightest lack of resolution on some more complex tracks in this region when heavier bass tracks are playing but that should be expected. Still, listening to a deeper bass singer like Avi Kaplan in the track “On My Way” he has such a wonderful tone and timbre with a chiseled edge to his earth moving and sonorous sounding vocals. His voice carries with the right amount of resonance and harmony. Or a track like “Idol; Re-run” by Westerman shows off the lead singer’s tenor voice as it cuts right through the deep rolling bassline. His voice is well uplifted and very clean. Or a higher pitched male like Muscadine Bloodline in “Azalea Blooms” which actually comes across a bit thinner but also more forward and accentuated.Upper-Midrange
The upper midrange has a cooler and more uplifted sound altogether. Females sound closer to the listener and even have some shimmer or luster to them. Not overly elevated either as I don’t hear any crazy pierce killing my ears or any bad sibilance. There is some planar timbre which shows up, but it is very minimal and easy to overlook. Female singers like Ellie Goulding in “How Long Will I Love You” are slightly boosted past natural with a sheen to her voice that sounds softer and sweeter than anything else. In my opinion she sounds beautiful with the ASONE in my ears. Her voice has this robust softness that is very well illuminated. “Stampede” by Jess Williamson shows off her more coarsely melodic voice that comes across with good body and a crisp note outline.I find that separation of instrumentation and voices is very well accomplished with nothing that sounds congested at all. I would say that bassy tracks with more complex musical arrangements will somewhat blur a bit but those are very few and very far in between. For the most part the sound is detailed and the ASONE is able to keep up with most any track I throw at it. The midrange has great pacing and cadence with very nice note definition for the asking price.
Instruments
Most instruments sound nice in the midrange. Strings have a nicely technical sound with a detailed presentation. I can hear every pluck of the guitar string mostly with very nice secondary harmonics. Percussion like cymbal strikes have a solid “chisk” and are well featured. Or snares, they come across with a nice “pang”, that sounds more like an exclamation point to any snare hit than anything else. Very tight and composed and with good note structure. Piano sounds nice and resounding too. Please remember, all of these examples depend heavily on the track you are playing. I could give examples for each, but this review would be extended a bit too far. However, in my opinion these are correct generalizations that should ring true across the board.Downsides to the midrange
If anything, I would say that the midrange could use less of a treble impact and ear gain as the ASONE can get slightly shouty in the right track. I didn’t hear enough of this for me to call it a “con” but it’s there when listening to overtly shouty tracks. Also, there is that slight planar timbre that I spoke of. It is there and it isn’t going anywhere. Having said that, I don’t think it’s nearly as bad as 90% of the planar iems out there. Yet it still exists. Planar timbre is that electric fuzz that resides at the note outlines. All in all, the ASONE has very nice timbre for a planar. Is there better? Sure, there is. Will it matter to 85% of hobbyists? Probably not. After that, those who like a more neutral sounding midrange may not appreciate the warmer lower half and the slight bass bleed.
Treble Region
The treble has a nice emphasis. It’s not artificial sounding up top either like some earphones out there that feign some forced resolution. What we have in the BASN ASONE is a treble that doesn’t peak-out with any unusual saw-blade type treble activity. It’s pretty even with a natural sounding slope through the upper treble. Nice extension too. The lower treble certainly sounds as though it carries the greatest emphasis in the region and uplifts the entire spectrum. I think the treble counteracts the low end very well actually. That said, it isn’t emphasized so much that it becomes offensive. At least to my ears. Just a nicely lifted treble with a little bit of bite, some crispness but overall is on the smooth and laid-back side with enough shimmer to spice things up when called upon. Example
Some of the test tracks I usually check out are from Billy Strings. You’ll notice that I use his songs often as his banjo play and the instrumentation that he uses is normally in rapid fire style. The song “Know It All” has a ton of treble activity and one thing I listen for is an earphone’s ability to help my brain keep track of each string pull. If it can do that then we have a nice set up top for treble activity. The ASONE quite literally rolls it’s eyes and says, “hold my beer“! Truly it catches everything, and the speed of the driver is pretty nice. Granted there are a number of BA and Planar, DD and certainly EST drivers which handle this no problem too. What I like is the treble bite I’m hearing in the ASONE. There’s an edge, a crispness at the apex of a note. I hear an overall smooth body up top with very snappy transients.Treble Instrumentation snapshot
The secondary harmonics of a cymbal strike don’t come across splashy and sheened-out but rather a quick decay. Violin isn’t bad at all but can come across a hint peaky, not bad though. Trumpet has a nice fullness too, with a resounding type of brassy coloration. Really nice for the asking price. Harmonica can become a bit peaky as well but for the most part I feel the ASONE nails it with the crispness it can add to a harmonica set. Electric guitar actually is kept in check which was nice to hear. Honestly, I didn’t hear anything that was brazenly and blatantly “Bad”. I think that BASN did a great job of tuning the ASONE for all types of instrumentation without killing my ears in fatigue.Downsides to the treble region
As far as some issues up top, I would say that treble Heads would likely want more, and those who prefer a warmer/darker sounding set will want less. You can’t make everyone happy. If anything, I could see some people wanting a bit more body up top with a more rounded note definition, but I am really stretching to find any issues. In truth the only issues would be personal and subjective likes or dislikes and not any real outright “flaws” per se. Again, nothing is for everyone.
Technicalities
Soundstage
I’d say the ASONE sits around the top of the heap of similarly priced planar magnetic iems as far as soundstage goes. In truth, they all are similar. However, I do think that the ASONE has many planar sets within the price point beat in the width department. Depth of sound field is nice too as there are certainly layers in my music. I would say that height is above average as well. If I were to describe the ASONE’s soundstage in one word, I’d say “full“. The sound covers all of the listening space within my mindscape. It’s simply full. Not pushed back or outstretched, it’s more intimate than that. Also, it’s not a wall of short sound like the Timeless either. It’s obviously not a coliseum or some stadium sized venue but the ASONE creates a very satisfying psycho-acoustic image with big macro-dynamics.Separation / Imaging
The question of “separation” of elements in an imaginary stage in the ASONE provided an answer which surprised me. First off, the bass is pretty big casting a warmer hue across the spectrum. A lot of the time this would also create a sort of veil on lesser quality sets. Sounds would usually mishmash together a bit. However, I found that the ASONE has very nice clarity, nice perceived speed of the driver and perceived transient swiftness which all serve as attributes that aids the ASONE in delineating and partitioning off instruments and voices. Is it perfect? No, it isn’t. Extremely congested music, bad recordings or songs that are very heavy with low-end emphasis can all trip-up the ASONE. These are rare though. Rare enough that I’d say that separation is a “pro” for this planar set.Imaging
You can basically take almost everything I just said about separation and copy/paste those words here. Those same attributes that bless the ASONE’s tuning also converge to help with placement of instruments and vocals on an imaginary psycho-acoustically rendered stage. Of course, imaging and separation usually walk at least somewhat hand-in-hand with each other, but it isn’t a given. There is nice depth, maybe not class leading but it’s there and it helps with layering of sounds from front to back which coincidentally also helps with providing a good picture of an instrument and with placement on the stage.Details
The ASONE is above average in detail retrieval in my mind. Of course, when playing tracks with more low-end emphasis than the ASONE will struggle a bit to render those details. For all other situations the ASONE does very well. Now, it isn’t tuned to be a technical marvel or some “detail monster”. This is a Harman tuned set that relies on musicality before anything else. The sound is a bit warmer too, it isn’t that crystal clear neutral, or dry and analytical type technical sound. Having said that, the ASONE actually presents micro details very nice with a very snappy planar driver that can move at breakneck speeds. Listening to the track “A Lens Turning” by Westerman, I heard every last little finite sound and every little bit of minutia as I was truly impressed.
Is it worth the asking price?
This is the real question that I have been asking over and over again to myself. I don’t think it’s clear cut. That is… is the BASN ASONE actually worth the $149 that BASN is asking? First, there are a number of very good planar magnetic iems from $100 to $200. There is the Hidizs MP145 (probably the best, review soon), the TangZu Zetian Wu, the Tangzu Heyday, Tin Hifi P1 Max, the Letshuoer S12, Letshuoer S12 Pro, 7Hz Timeless among many others (I realize I left out a lot). The ASONE would essentially have to compete and even excell past those sets where sound quality is concerned in particular. I mean, the ASONE wins out in accessories and case but that’s not as important to hobbyists. Build Quality in my opinion doesn’t stack up to the others I mentioned being all-plastic. Granted, the ASONE is built very nicely. We have all alloy builds in the MP145, Heyday, and the S12 series. However, where sound quality comes into play, my friends, the ASONE competes very well.The Why
For one, the build is very nice in that it’s solid in hand and extremely light and comfortable. More so than most planar sets. If comfort comes as a priority in your listening, then I feel most will love this design. The ASONE feels very durable, very solid with a hard and dense plastic resin material. The accessories are some of the best I’ve found within the price point. That case is bonkers, and the non-mic cable looks like a good upgrade cable and is very nice. Heck, even the mic cable is very nice. However, the true reason the ASONE is worth the asking price is that the sound easily competes with any planar set that I’ve mentioned. No joke. I realize not many people have checked this set out, but it is a very fun and very clean sound, which doesn’t skimp on the details while featuring a great soundstage. Believe me, I had zero idea I’d like the ASONE as much as I do.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the BASN ASONE ratings below, that would be $100-$200 planar iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $100 – $200 US is a small scope of iems and so seeing a 9 is easy to understand. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 7.9-Look: 9.2
-Accessories: 10.0
–Overall: 9.0
Sound Rating
-Timbre: 9.3-Bass: 9.8
-Midrange: 8.9
-Treble: 9.4
-Technicalities: 9.3
–Overall: 9.4
Ratings Summary:
Not much here to really add to the conversation. The ratings are pretty cut ‘n dry for the ASONE. There is not a huge lot of Planar iems between $100 & $200 US. So even though build quality is a 7.9 it’s actually pretty good considering. How many planars are there in this price range, very few. So, receiving a 9.4 in overall sound ratings against the rest of the field is legit to me. Also, I do think the ASONE is that good. Everything else makes sense to me. A 9.8 in overall bass is in my mind absolutely correct. I don’t think there are many planars that do it better. 8.9 in midrange stands to reason because there are a couple sets which specialize in the midrange and vocal areas better. However, an 8.9 is fantastic for a Harman tuned set. So, these are subjective ratings based on the planar sets that I’ve either owned or heard of at the price point and how the ASONE compares and competes against those sets.One more thing, I purposely did not do any comparisons as I didn’t want to run this review too long but please comment below if you’d like me to edit a comparison into this review of one of the planars in this price point. Also, comment about anything else and I’ll be happy to get back to you.
Conclusion
Boy was I happily surprised by the ASONE! I am actually thrilled to see what else BASN can do in the future. To think that this was their first planar and it sounds like this?! That’s crazy. Job well done BASN!! So, to conclude I want to thank the good people of BASN Audio for providing the ASONE in exchange for a full and honest review as well as a feature at Mobileaudiophile.com. BASN makes it very easy to respect this company. BASN isn’t scared to hand out review samples and aren’t worried about the subjective thoughts of reviewers which says a lot about how well BASN believes in their product. They know it’s good! They are just waiting for the rest of us to figure it out. Other perspectives and… thank you!
With all that said, please do not just stop at my thoughts. I write these reviews to help you and because I love writing them. Please take in other thoughts about the ASONE from other reviewers and other perspectives. As I always say, we are all different. We all don’t hear the same, we don’t all have the same music libraries, or likes and dislikes, we don’t have the same gear and sources either. Most importantly we haven’t all been down the same journey through the audio landscape. So do yourself a favor and take in other thoughts. Also, thank you for reading, it is an honor that anyone chooses to read anything that I write. Take care, stay safe and always… God Bless!
CCA Duo Review
CCA Duo
Intro
Hello, here we are, yet again with another KZ/CCA iem. The set I’m reviewing today ushers in a kind of “resurgence” from the sister company to KZ… CCA. And the set I am referring to is none other than the “CCA Duo”.The Duo is actually a Dual-Dynamic Driver set that sparked some Interest in the community as the budget arena is always a hot item. Let alone a Dual-DD offering. However, this set is not an “ultra-budget” set like we’ve seen recently. Costing roughly $29 depending on where you choose to purchase the Duo, (if you decide to purchase the Duo) and it fights for relevance against quite a few iems ranging from $25 to $35. I would even say that the Duo fights for relevancy against some sets from the same company (KZ/CCA) but… I’ll let you decide and hash that out though. For now, I’ll stick with trying to figure out this latest creation from the famous iem maker and try to answer if it’s worth the price, how it stacks up against other Dual-DD sets and in general… does the Duo sound good or not?
Trending up
I have reviewed many KZ/CCA iems and I’ll be honest, I haven’t seen even one… flat-out dud. All of them are good in their own right and for their respective tunings and respective price points. Each set usually offers a very good price to performance and each set is usually one of the better built sets in their relative price points.KZ has really upped their game over the past couple years and so long as you aren’t a KZ “hater” then you’d likely be able to agree that the tuning has gotten much better. Lately we’ve seen some real nice sets like the KZ Krila (Krila Review), KZ D-Fi (D-Fi Review), KZ ZVX (ZVX Review), the illustrious collab with HBB in the KZ PR2 (PR2 Review), to the more expensive KZ AS24 (AS24 Review). Each has made an impact, and each is a good set in their own right. There are about ten other sets over the course of the past couple years that have been nice as well and can be found at Mobileaudiophile.com if curious.
At any rate, I was happy to receive this set from KZ/CCA and I want to thank Tyvan Lam and KZ for providing the Duo for an honest and fair impression of what I hear. It will always be my motivation to explain my exact thoughts and nothing more and I do hope it helps those who chose to read this review. So, without further ado… The CCA Duo…
Purchasing links
–Amazon–Kztws.com
–Linsoul
Gear used for testing
–Fiio UTWS5–Ifi Go Blu
–Moondrop Dawn 4.4
–Hidizs S9 Pro
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging & Accessories
This section is always very short in a KZ/CCA review. There’s not a whole lot to report as the small box is very plain, just a picture of the Duo on the box and some specs on the back. Inside the box you’ll find the tips and the cable and that’s about it. Nothing crazy. Of course, I don’t think anyone should expect anything more either.
Cable
Another very short section as the cable provided is the same KZ cable that has been involved with every iem that I’ve gotten for about two years now from KZ. Same 3.5 single ended, QDC style 2-Pin white/opaque SPC cable. Not complaining though as I do believe that KZ puts more effort and money into the creation of the earphones themselves rather than accessories. So, as I do, I swapped out the cable right away for the TRN Modular cable which came with the TRN Rosefinch. Please note that there is nothing wrong about the included cable as far as sound quality is concerned and if upgrading your cable simply isn’t an option then you’ll be fine using the KZ cable.
Eartips
Included in the packaging is one of my favorite types of tips which really come in handy for a multitude of different earphones and those are the KZ Starline tips. KZ added three pairs in total (S, M, L) as well as one pair of medium sized foam tips. One thing I enjoy about Starline tips is their rigidity and ability to seal in my ears. However, I don’t think that the Starlines match the Duo… At all. For one, the Starlines tend to increase the upper frequencies as well as the upper midrange a bit on the Duo even more than I’d like as the Duo is already a brighter sounding set. Starlines also help with sets that have a narrower stage and this does help but I simply needed something different. I actually went with my tried-and-true KBear 07 tips which added more texture and punch to the low end and increased the stage a bit with a nice vocal presence. Still, please KZ, keep including Starlines, I can never have enough of them.
Build / Design / Internals / Fit / Drivability
Build Quality
In terms of build quality, the Duo is certainly in the upper echelon of iems in its price range. CCA used 3D printing from their own & manufacturing facility & warehouses. The Shells are made of a 3D printed resin material. They don’t feel like any cheap plastic but more like a durable and more hard resin. The resin used is clear so peering in through the Shells it is easy to get a look at the drivers themselves. Also, easy to see is that CCA went with sound tubes to better delineate the frequencies as I can see them running to the nozzles from the drivers. The faceplates are made of a metal alloy with a gun-metal appearance. All in all, the build quality is very nice for a $40 iem. Not the best but very nice and solid and durable feeling in hand. Another thing is that the Duo are really featherlight in the ears which is a huge benefit for long listening sessions. The Duo was created to sit at roughly a 45-degree angle on the ear which I’m assuming will snuggly fit in most ears.
Design
The Duo is a very simple looking iem, nothing flashy, or too trendy, not steam punk, and not outright youthful, like many sets in the budget space. Even by KZ standards the Duo is more mature looking. The faceplates themselves have a very slick and sleek aesthetic but also a utilitarian vibe. The Duo has a classier pattern which consists of one simple wavy line and the name “CCA Duo” imposed on them. Not flashy, they’re classy!Anyways, the design is pretty cool. For one I dig the Alloy faceplate and I also dig the Amber colored transparent resin shell cavity which shows off a good look at the drivers. Friends, I honestly think this is one of the more attractive iems that KZ/CCA have made. It’s simple, nothing extravagant or chic, nothing boujee and nothing only meant for teenagers. Instead, I feel the Duo look like a slick and aerodynamic professional looking iem that can be worn anywhere without any strange looks. I think it’s a job well done. My opinion.
Internals
Inside of the Duo CCA chose to go with two 7mm Dynamic Drivers and each owning a dual magnet array as well as dual cavities per each driver which are said to have a very high magnetic flux compared to similarly priced iems. Of course, this is not all that rare, but it is cool to see KZ/CCA following some of the latest Dual-DD trends and coming up with a set of their own to try to compete. We have seen other sets go with two Dynamic Drivers in the recent past and so it will be interesting to compare. However, I think I would’ve liked to see the Woofer around 10mm, just for more air movement and surface area. Not to say that 7mm can’t sound fully expressive and dynamic because they certainly can. Truthfully, for a 7mm Driver, CCA did a nice job.
Fit
As far as fit goes I had to definitely find the right eartips. With the included tips I did have to fiddle around a bit for a good seal. Using the KBear 07 large sized tips helped much more in my ears. I will say that once a seal is established the fit is amazing. The Duo is a set that I can very easily wear for hours at a time and never even think about it. I do think the 45-degree angle helps to sit more. Perfectly for my ear anatomy. I have zero idea how these will fit you so take this with a grain of salt. Now, I found isolation to be better than average. For whatever reason I get better attenuation of outside noises using the Duo than many other sets. Also, sound leakage is not a problem.Drivability
The CCA Duo is rated at 18-ohms and a sensitivity of 106-db’s, so it really isn’t super difficult to drive. I think a smartphone can probably do the trick, but I also think that it won’t maximize the potential of the Duo either. I don’t feel that the Duo is as sensitive as others in the price point and around the same supposed sensitivity. Not that they are difficult either, but I found I had to turn the volume up a bit more than something like the Truthear Zero for instance.Mobile listening
However, even using something like the Fiio UTWS5 I had plenty of headroom and dynamics and the warmer sound of the UTWS5 really did well to offset the Duo. Bumping up to the IFi Go Blu (CS43131 dac chip) I found the slight warmth and note weight of the Go Blu played well with the tonality of the Duo which is pretty bright. These two made synergy together. The Moondrop Dawn 4.4 (CS43131 dac chip) is a powerful little Dongle Dac, and I found that the Duo certainly responded with the additional power by improving staging, separation as well as additional bass density. The Hidizs S9 Pro (ES9038 Q2M dac chip) was much the same as the Dawn and both are very powerful Dongle Dacs. I do think the Dawn was a bit more expressive and cleaner with the Duo, but I really enjoy both units.
DAPs
Moving up to the iBasso DX240 (ES9038 Pro dac chip) and using the iBasso Amp8 MK2 I found that the sound didn’t show as much improvement. The DX240 is more analytical and slightly closer to neutral which emphasized the Duo’s timbre to come across slightly less natural to me. However, using the Shanling M6 Ultra (AK4493SEQ dac chip) I had a complete opposite experience as the M6 Ultra is more velvet in its tonality, it’s more resolving and thickens up the Duo’s midrange and treble while adding a bit more bass extension and slam. I’d say that source pairing is pretty important with the Duo as it’s tuning & coloration tilted to one side of the scale, and you should consider a source which counteracts the natural sound of the Duo. Still, as far as power is concerned; all you need is a decent Dongle Dac.
Sound Impressions
The first thing I thought when putting the CCA Duo into my ears was… “Wow this sound is very clean”, which was quickly followed by “Wow these are also pretty bright!”. I was not immediately impressed. I have to be honest. The Duo took me a minute to adjust. The same thing occurred with the Truthear Zero (in other ways), and also, no I am not simply drawing this distinction due to the same driver configuration. Redemption
Anyways, I didn’t like them very much upon first listen. The sound was different. However, over the course of about 10 songs my opinion magically morphed into reserved delight. Just like the Zero. I slowly “got it”. The sound is so very uplifted, intense in a way. The sound is bright and detailed for a Dual-DD iem. I hear a set that isn’t quite neutral but actually teeters on being neutral/bright. Brightish if you will. However, somehow, I don’t find them fatiguing or too much. So, to answer my own question if they were missing something or if they had too much of something I would say to myself… “Nope the Duo are simply different”.Burn-in / Listen-in
I gave the Duo around 70 hours of burn in, and I do think it helps quite a bit. There were some timbre issues at first that gifted my listening ears with almost a metallic timbre. A buzz at note ends or a tizzy type of note outline that seemed more prominent as I turned the volume up. After burn-in I didn’t get this anymore. So, just do yourself a favor and give ’em some burn-in or listen-in or just refrain from judging them too harshly until they’ve had at least 50 hours of play time. Dynamic Drivers generally need more play time depending on the material of Drivers and I certainly think the Duo is under that umbrella.How does it sound?
Back to the sound. After burn-in, eartip changes, cable swap and some good ‘ole fashioned “brain burn” I have to say… This is a nice set my friends. I hear something closer to a U-shaped or W-shaped sound that has a huge amount of lean dynamism. Note weight is not heavy but somehow there is still a very nice presence and structure to the sound with an energetic foundation. If you are coming from a warmer and lusher iem than the Duo may shock your senses to a degree.The sound is very clean and highly resolute for a $29 set. The bass is slightly lean for some, I’m sure. The Duo is sub-bass focused, punchy and very tight. Despite that, the Duo is most certainly not for bass Bois. The bass is lean and could use some EQ down low… if you need more of course. The midrange is forward, fast and articulate with a penchant for female vocals. The mids are definitely the shining star of the Duo, in my humble opinion. The treble has nice emphasis that is non-offensive and has some treble punch and brilliance to it without coming across tizzy, splashy or metallic. The sound is mostly detail oriented with a nice openness. The stage is above average with good macro dynamics. If this is as far as you read, just know, the CCA Duo gives a very nice presentation of my music and will serve as a nice compliment to some warmer and more bass heavy iems in the price point.
Bass Region
Sub-bass
Like I’ve already clearly stated the bass is not the most fun & boosted of all three frequency divisions. Does this make it bad? Absolutely not. The low-end has plenty of thump for most any track but simply comes across leaner than many sets. There is moderate rumble like on the track “Groove” by Ray Wylie Hubbard. Usually, I’ll get a low and droning reverb that sets the tone for the track. On the Duo I get that low drone but it’s simply less authoritative. I like the clean vocals which run parallel with the bassline, and I do like the extension down low. Killer Mike has a track “Down By Law” on his brand-new album and usually this song comes across with a bit more of a haptic sensation. I actually hear nice low-end extension on this track.Mid-bass
The mid-bass is also slightly held back with moderate slam. That said, I like the speedy nature of the bass. It’s pretty well defined with a perceivably more rapid boom. Transient attack & decay seems to resolve quicker as the bass handles complex bass tracks great for a $29 iem. “Edge Of The Ocean” by Stick Figure sounds fantastic on the Duo. There is a ton of instrumental harmony floating throughout the melody of this track in tropical waves and the Duo represents each individual peice in that melody. All the while the bass is not lost and comes through relatively strong. I suppose this is the beauty of this tuning, the Duo is capable of taking on some complex musical arrangements without drowning them out in bass veil. I guess this is where I should also add that the bass does not muddy up the midrange. It’s strategically rolled-off purposefully to keep the overall balance of the sound clean and carefree.Bass as a whole & some discrepancies
In truth, I much more gravitate towards an authoritative low-end which helps to add depth. More low-end emphasis rounds out the mix by helping give vocals and instruments some weight and body to them. A more robust low-end helps with the timbre as well. Having more bass is also more exciting and fun to me. The Duo almost gets there. However, I find the Duo makes up for it with something more like “lean muscle mass” and a closer to “pristine” take on my music. Also, the bass is plenty enough for me in most tracks. Maybe this is partially caused by the use of 7mm Drivers handling the Woofer section but I’m not complaining, it still sounds good.Listening with the Duo, the bass guitar usually doesn’t have the same robust growl. On the other hand, kick drums have that hollow boom with some tackiness at the leading edge in attack. The downside of this bass is that it is not for bassheads at all and that it doesn’t offset the brightness as well as I’d like. I can’t help but be impressed with the agility of the Duo’s bass region though. It’s speedy & macro-detailed, it’s not one noted and it’s dynamic. Even if it’s less in quantity. However, if you must, try to EQ a few Db’s into the low-end around 60 to 100hz, somewhere in there if you need more. It really does help and turns this set into a real challenger in the price point and not just a great niche type replay. Still, all things considered, the bass as it is in its stock form is mature and clean and I’m sure many will enjoy it.
Midrange
In my humble opinion I believe the midrange steals the show, so to speak. Definitely not recessed but also not so forward that anything is in my face or unnatural in its forwardness. I find the midrange fits. This doesn’t mean it doesn’t come with some subjective quarks and qualms…First off, the note weight on male vocals is skewed towards unnaturally thin though not overtly thin or papery or dry. Vocals still have a moist edge to them. Despite that, I could still use a touch of weight and a pinch more warmth. However, I’m not you and I’m sure many will love the Duo’s rendition of a male vocal. Over time and listening, I began to really dig the sound of a male vocal on this set. Nothing jumps out as “off” per se. Slightly thin, maybe a bit crisp at note edges but males have good presence in the mix. “I Still Haven’t Found What I’m Looking For” by Home Free (U2 Cover) shows off every pitch and cadence of a male voice and I gotta say, the Duo handles this specific track lovely. Then again, pick any song off that album and you’ll hear the same result.
Upper-Midrange
The upper midrange has a real draw to it for me. Forward in the mix but also transparent and revealing. There is this shimmery type of smoothness that gives female voices this soft and subtle lift. Now, just like the lower-mids, the upper-mids also aren’t the most robust in body, but they aren’t lacking either. In “Whispering Waltz” by Sierra Ferrell, her voice is naturally sweet and feathery, but I can’t help but notice the Duo aligns with the inflection and cadence of her voice very well. The Duo does well with nuanced and lovely little articulations or modulations in a female's vocal delivery. I really enjoy the way CCA tuned this area of the mix. Pick any Ingrid Andress track, like “More Hearts Than Mine“. Her voice has this sweet edginess or tuneful rawness, almost like a rasp but stays smooth and mellifluent. The Duo displays this perfectly without turning that rasp into something processed, metallic, or tizzy sounding.Instruments
The midrange also creates some space between instruments and voices in a nice manner for a $29 set. It helps that the attack-through-sustain is actually a tighter transition and cleaner than you’d probably think too. Despite the brightness on the Duo, everything is still very well balanced which also helps in the Duo’s ability to separate elements of a stage and create a more authentic field of sound. Timbre is not perfect, but the structure of the sound is nice for instruments. Cymbal’s strike with some pep, in fact percussion in general has a strong pang to my ears. Piano could use more fullness and stuff like violin sounds nice…Downsides of the midrange
The potential issues within the midrange are all centered around the note weight and timbre. Like I said, if you are coming from some warmer and lusher iems and greatly enjoy that type of sound then the Duo may not be for you. Timbre isn’t perfect as everything comes off a bit bright and simply not as full sounding as some iems. I don’t think this is a real issue, but it may turn some people off. On the flipside, the Duo isn’t shouty either, believe it or not. At least not to me. Also, I don’t hear any sibilance. The midrange is also more detailed than I would’ve thought. Certainly, more so than other Double-DD iems we’ve seen of late. In fact, the Duo almost comes across like an all-BA set in many regards to my ears. The Duo has the snappy behavior of a BA set yet without the BA timbre.
Treble Region
The treble region has some brilliance to it. It has pizzazz up top. Not brilliant in the sense that they come across shrill, but brilliant as in; bright enough to lift the entire mix. There is a coldness and emphasis up top which cascades all the way down to the bass region. The treble quite literally jazzes up everything. There’s some decent extension up top as well. For example, the secondary harmonics of a cymbal strike don’t come across attenuated but also, they don’t come across too splashy either with good note definition & character extended way out. Trumpets in this region have a nice brassy type of fullness. Perhaps a bit too bright and thin but not bad at all. Violin sounds nice to my ears. In truth, I think all instruments will be colored towards the uplifted and sparkler side of things. So, expect that. Now, for the most part, I don’t find the treble shouty or sibilant. I feel the treble stays right below the line of discomfort. Again, for my tastes. After burn-in I do believe the treble flattened out a bit, calmed down some, and gained some control and gained some ductility that it didn’t have before. This is not an ultra-crispy treble but instead it’s slightly punchy, perhaps a bit tinsley, it is on the thin side too, but it’s still snappy with some nice smoothness. There’s nothing jagged or coarse, nothing grainy and again, I don’t hear any sibilance.
Not “completely” safe
To be honest I think CCA really did well in this region being that they were trying to tune Dynamic Drivers which don’t always impress a whole lot in the higher frequencies. I think that CCA did the best they could in creating a brighter treble region which still holds on to some semblance of timbre integrity, has nice micro-details and nuances and doesn’t scare me off with ear piercing sheen. One thing is for sure… This treble is not considered completely safe.Examples
Micro-details are certainly in abundance in the treble region as in a track by Billy Strings… “Ice Bridges“. His rapid-fire banjo play proves the Duo can keep up with fast and nuanced tracks in the treble region by delineating each string pull and keeping the rest of the musical arrangement in check. Another track which impresses is “Bishop School” by Yusef Lateef. This song is littered with different types of treble activity. Granted, any recording I’ve heard of this song isn’t that great, but the Duo is able to capture all of the finer details while doing a decent job of highlighting each instrument well.Downsides to the Treble Region
Now please don’t confuse, the Duo is not going to blow anyone’s mind in its ability to recreate a natural and speedy treble region. It’s still pretty bright. I’m simply giving credit where credit is probably due. There are certainly issues. First, it may be too bright for some, too sparkly and too shimmery. There’s a coldness to the sound that not everyone will jive with. It took me many hours of burn-in coupled with brain burn to really begin to love the sound. So, I do think it is acquired taste. I think real treble Heads will probably be happy with this set.
Technicalities
Soundstage
I find the soundstage is neither small nor overtly large. I think it’s an average sized stage with good width, a pretty full height and about average depth. The Duo is not simply a wall of sound and does not sound flat to me. There is depth there which aids in layering and adding distinction between instruments and voices. Overall, the stage size is about average and for all I tents and purposes, for $29…that’s a good thing.Separation / Imaging
I think the Duo does begin to excel a bit in these two parameters, meaning separation and imaging. I have zero problems imagining distinct instruments for most any track besides bad recordings and tracks that are simply congested no matter what iem is playing it. For the most part I feel the Duo does very well at separating elements on a stage which is a nice attribute at this price. Also, imaging is very easy to imagine in this psycho-acoustic world. Left to right is as it should be and there is some depth of field to render front to back instruments and voices. The Duo has good control overall which certainly helps it to cast all pieces of a musical arrangement in correct places making them fairly easy to distinguish.Details
I think you already know what I’m going to say here. The Duo does very well at illuminating the finer details in my music. It has a recipe for success to be honest. The stage is decently sized, the tuning is overall more lifted and airier, separation is very nice and note definition is good too. We don’t have any masking from the bass or too much coloration either which helps to bring the minutia to the surface. Be it a fast track or a solo acoustic track the Duo will perform pretty well in the detail department.
Comparisons
Note: I just want to let you all know that each comparison will be against the other sets of varying prices which each have the same driver configuration. KZ had asked me to do so, and I am gladly obliging that recommendation. The only set I left out (that I have to compare) is the Tripowin Kailua as I am in the middle of completing a review of that set and wanted to save some info for that review. Plus, the Kailua is a beast, and the price difference is warranted. These comparisons are not a duel to the death. I really don’t think crowning one set above another is very helpful as these are my subjective thoughts. I’d much rather try to simply state the differences between the sets I’m comparing so as to better explain the set I’m reviewing. TRN MT4 ($17)
TRN noticed a trend in the hobby as the MT4 was announced right in the middle of the 2-DD extravaganza that took over the budget arena within the hobby. Up to the MT4 we hadn’t seen a Dual-DD set which was priced so low. Coincidentally the MT4 wasn’t just a couple drivers slapped in a shell. In fact, the MT4 is actually pretty darn good for the price and certainly got a “REC” from me (MT4 Review). The MT4 has its issues but for the price it’s hard to beat up on. The MT4 employs one 10-mm Beryllium coated DD, and one 6-mm DD and is built extremely well for the price.
Differences
To start off I do think the build quality is about the same between these two sets. However, I much prefer the look of the Duo as it just appears more unique looking and slick. The MT4 is a bit larger in comparison and about $10 to $12 cheaper. The MT4 is quite a bit warmer (warm/neutral) than the Duo (bright/neutral) in tonal coloration and is a hair easier to drive.
Bass Region
The MT4 has more bass, period. The one huge criticism I have of the Duo is its lack of substantial bass emphasis. However, the Duo has a denser bass with a more refined note definition down low than the MT4. The MT4 has a fuzziness to the bass with a boomer approach whereas the Duo is punchier and much quicker. Basically, the Duo is more audiophile in its low-end to the more fun bass of the MT4.Midrange
Straight away the MT4 has the warmer midrange with almost a veil across this 3rd of the mix. Male vocals are thicker and slightly lusher. Female vocals are more tamped down, less shimmery and less mellifluous. The Duo is much clearer & cleaner throughout the midrange with a better detailed sound, better separation and has better resolution. For those who prescribe to a more laid back and warm approach you may like the MT4 better but for everyone else, the Duo truly outperforms the MT4 in every midrange metric.Treble Region
The Duo is brighter and more finite in its note delivery. I found the Duo to be more emphasized and airier whereas the MT4 seems to almost lack air. In fact, in my review this was one of the cons I found with this set. When I began comparing, I knew that the treble region would go to the Duo and iw as not mistaken. Yes, the Duo is more airy, cleaner, better note definition, better detailed treble, and has better extension to my ears. The Duo’s treble is better balanced in the mix while the MT4 I think needs that last little bit of emphasis up top to take away some of the slight veil which is cast upon the sound.Technicalities
Both sets offer a decent technical showing but out of the two I think whole heartedly that the Duo simply out-duels and out-classes the MT4 in every technical aspect of the sound. From soundstage depth, layering, separation and details the Duo is a much more mature and audiophile type sound to the budget V-shape of the MT4.In the end
Friends, for $17 I think the MT4 is a very nice set and still REC it all day long for fans of a warmer and more laid-back approach and who like some low-end boom. However, this one isn’t even close if you are after a sound that is refined and clean. Truly the Duo is a bargain at $29 which is only $12 more than the MT4! For me, I feel the Duo is a runaway winner here.
Truthear X-Crinacle Zero ($49)
One of the larger hype trains iems within the budget space in the last year is the Truthear Zero. The Zero is priced a bit more than the Duo at $50 US and was tuned by YouTube legend Crinacle (of YouTube renown) in a surprise collaboration. I’ve owned this set for quite some time and have yet to review it, but I’ve grown to appreciate the Zero. The Zero comes equipped with a 10mm & 7.8mm Dynamic Drivers and is very well tuned, so long as the tuning agrees with you. To be honest the Zero is a very polarizing iem in the community and I feel you either love it or hate it.
Differences
Both sets are built in a budget way, but both are built nicely and truthfully, I don’t think either is better than the other. I do like the look of both about the same. The Zero is a bit larger than the Duo so that is something you should consider. I’d say the Zero has a bit better accessory but not by much. I find the Duo is slightly harder to drive. Between the two the Duo has a brighter and more detailed sound but both sets are more mid-centric however I will get into all that now…
Bass Region
Definitely the Zero carries much more sub-bass presence. That said, the Zero has a bit slower bass. More boomy. The Duo has a more detailed and clean bass response yet still can bump when it needs to. The Zero sounds a bit flabbier than the Duo. The mid-bass quantity is also larger on the Zero but not by much, in fact the mid-bass gets rolled off extremely early on the Zero (one of its selling points) which you’ll either really like, or not. The Duo has more of a hard lined presence even with a less full bass. It’s tighter, punchier, and has better details in this area.Midrange
Both sets are very similar in the midrange. Both show off thinned out male vocal and both have more shimmery females. Although, I feel the Duo sounds a slight bit more controlled and detailed. The Zero is more recessed in the lower midrange and slightly shouter in the upper-mids. I like female vocals on both iems but I think the Duo comes across a bit more in control and more lustery. Possibly less natural though. The Duo boasts better details by a hair, but without question; both sets sound extremely clean in the midrange. Both sets offer very nice vocals. For me though, I’ll take the newer and less expensive Duo’s midrange. It’s more vibrant but somehow doesn’t walk into the shouty area as easily. Plus, the Duo has better macro-dynamics in the midrange as it is simply more full sounding. Not by much but doing a back and forth these are things that I’ve noticed.Treble region
Without a doubt the Duo has the airier, more detailed and more punchy treble. I find that details emerge much easier on the Duo as well. Both iems have decent extension into the upper treble past 10k but as a whole the Duo simply “outshines” (pun-intended) the Zero. The Duo has more treble bite and body and is more refined to my ears. Keep in mind that this isn’t by a country-mile, but I do think the Duo represents this region with a hair more skill.Technicalities
You can basically chalk this entire paragraph up to the Duo. The Duo has a less narrow stage, better depth and the Duo has a better detailed showing across the board. I will say that both sets do well with imaging, I didn’t think one was miles better than the other.In the end
I know after reading you’d think the Duo is a much better iem. This is not necessarily true, at all. The defining characteristic of what makes something better than something else comes down to you, the reader and what you like. This is from MY perspective friends. I do think the Duo is a better set and it’s cheaper, built just as well, maybe less attractive but I think it performs better. Of course, you may not like that neutral/bright sound, and you may want a more su – bass boosted set? This is really a question of preference as these two are actually different enough.
QKZ X-HBB Khan ($39)
Another collab iem, another Dual-DD iem and another budget oriented iem that has rolled-off mid-bass in expectation of a cleaner and more resolute midrange. To be honest I really enjoy the Khan. Again, it is another set that you either love or hate, it’s very polarizing. The Khan came about as an answer to some of the shortcomings or better said the “preferences” of HBB (Bad Guy Good Audio Reviews of YouTube fame) of the Truthear Zero. Truly, the Zero and Khan are almost Carbon copies of eachother with only subtle differences. However, they are meaningful differences.
Differences
How about the differences between the Duo and the Khan. First off, the Khan is accessorized much better, in fact it isn’t even close. The Kahn is built slightly better and looks better as well to me. Though that last sentence is definitely up for debate because the Duo does look pretty fly. The Khan is quite literally exactly the same as far as size and shape goes to the Zero with only miniscule differences and is also much larger than the Duo. The Khan is warmer in tonality with a more natural and organic take on the spectrum and my library of music.
Bass Region
Starting with the bass, the Khan has the more beefed-up low end with more boom and rumble. Some may consider this set a basshead iem (I don’t but I’m not everyone) and in the same breath many call the bass flabby (I don’t but I’m not everyone). The Duo has a much tighter, speedy, detailed and punchy bass while the Khan is more one-noted and slow in comparison. This doesn’t mean the Duo is better friends. I happen to love bass so for me it’s a difficult choice. Most certainly the Duo has a better-quality bass region, without question. Still, I wish that CCA would’ve bumped up the bass about four db’s because this wouldn’t even be a question as to which would be better. Do you like warm, full sounding and boomy or do you like snappy, fast, punchy and tight?Midrange
The midrange of the Khan comes across warmer and fuller sounding yet still relatively clean (unless a bass heavy song is playing) which is a nice balance. For instance, I find that even though the Khan and Zero graphs are almost identical, the Khan still has better note weight. The same is true against the Duo. The Khan has a slightly thicker, warmer sound but also, it’s slightly more veiled. The Duo is simply more neutral across the midrange, more resolute, with an airier feeling in the Mids and cleaner all the way through. The Duo has the better detailed replay, but I do find the Khan is a hair more musical and emotional. The upper-mids are also more forward on the Duo with a sparkler and more uplifted female vocal. Pick your poison really, both sets offer a different take on the midrange, yet both are also good at what they do for the asking price.Treble Region
Just like the Zero, the Khan is much less bright and doesn’t pick up the macro-nuances and micro details quite like the Duo. The Duo is much more emphasized where the Khan sounds like it’s rolled off a slight bit earlier. The Khan has a laid-back treble to the Duo’s very bright sounding upper 3rd. I realize the graph says the Khan should be brighter than it is but… This won’t be the last time I tell you that graphs are a horrible way to define the sound of an iem (just an outline people). Anyways, the Duo is again… cleaner to a degree, more refined throughout the mix, and it has a better treble punch and extension. On the flipside the Duo is also possibly more fatigue inducing in this region with an easier going sound yet still having enough treble boost for good instrumentation. The Khan also has a thicker and more bodied treble.Technicalities
Just copy and paste what I said with the Zero comparison. The Duo simply out-duels the Khan in the area of technicalities. Well of course it does! The Duo has a slightly larger and more airy stage, more balanced across the mix, less bass bloat, better separation, both sets have decent imaging, but the Duo also brings out the nuances better. Pretty much across the board again for the Duo. Of course, I also didn’t add in a comparison with a set tuned similarly as the Duo, so these comparisons are pretty skewed.In the end
Both sets are very nice and do what they do very well for being so cheap. Both sets offer two different flavors of sound, even more so than the Duo vs Zero. The Khan coming across even warmer to the Duo which is very vibrant. Again, this is another preference battle but really, I used the Khan to hopefully explain how the Duo sounds a little better.
Is it worth the asking price?
I suppose the answer to this question lies in you. I can answer for me and my wallet and my ears, but I do think the Duo is the type of set that you will either jive with, or not. CCA did not go the safe route and I kind of applaud them for it. It’s risky to create an iem that toes the fatigue line and pushes the boundaries of what color and emphasis can do to the overall sound. I for one think the Duo is a very good set. The technical ability alone puts the Duo in rarified air with some of the better detail retrieval iems in the price point. Relax, I didn’t say the best. Anyways, the Duo does things other sets can’t do quite the same but to get there CCA had to crank up the resolution… so to speak.The Why…
This is simple, because to my ears the Duo is one of the more capable sets in the price point. Built very well with one of the better-looking faceplates and a It has a speckless and clean sound signature that is very speedy and cold-balanced that doesn’t negate dynamics or musicality. Friends, I just have to come out and say it, the CCA Duo is an extremely good sounding iem. I do think that EQ’ing a few db’s of low-end will take this set to an even better place as well, so that’s something to think about. After spending so much time with them it is very hard for me to find negatives for such a low price. This one is an actual, real life, bona-fide… NO BRAINER! Yes, the Duo is worth every penny.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the CCA Duo ratings below, that would be $20-$35 iems in any configuration, not just Dual-DD. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $20-$35 US is a broad scope of iems and so seeing a 9 better mean something special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.3-Look: 9.0
-Accessories: -.- (At this price Accessories don’t apply)
Overall: 9.1
Sound Rating
-Timbre: 8.5-Bass: 9.0
-Midrange: 9.2
-Treble: 9.0
-Technicalities: 10.0
Overall: 9.1
Ratings Summary:
These ratings are pretty easy to understand and not much to summarize. The lot of iems that the Duo is battling for your dollar in is any set between $20 and $35. There are a ton of decent to good iems here. I won’t go into detail about all of those sets but there are a few that really perform quite well. Namely the Reecho SG-01 Ova, Simgot EW200, Kiwi Ears Cadenza etc. There are obviously more sets which will give the Duo headaches but in truth, not many of these sets can outright-outperform the Duo. Some may be more musical, some may be more fun, better timbre. Still, none are blatantly more technical and detailed, and none are straight up cleaner or more precise.The CCA Duo is without question a nice set that can go up against any in the price point in my humble opinion and the ratings I gave speak to that. The only Rating that could go either way is “timbre”. Honestly, what is “correct timbre” or “good timbre”? That is wholly subjective I every way. Some may think the Duo has amazing timbre that’s lifelike and great while others may despise the bright and thinner type sound and may think that the timbre is not that good. So, there will always be some questionable ratings from me, I can surely admit that. In fact, I really detest Rating anything as I believe they are way too simplified and don’t explain anything. I like nuance and the recognition of nuance in everyday life as well as with my audio devices.
Conclusion
To conclude my full written review of the CCA Duo, I just want to give a thank you and shout out to Tyvan Lam as well as KZ Audio for providing this very well done iem. Guys and gals, I really love writing these reviews. I am not the best at it, and I’m trying to understand and grow more in the hobby with my writing every day and I can admit that I am not as learned as some folks, or not as “Audiophile”. I’m a dude who loves music and loves the devices which replay that music. What I will say is that I explain EXACTLY what I hear every time I write a word. I want to make it clear that I will never be swayed to change my words to suit anyone. It won’t ever happen. I don’t need review samples friends. I don’t. I’d rather keep my integrity and breathe easy knowing I can defend my position on anything I write based on listening experience. Other Perspectives
Also, please, I implore you all to take some time to check out other reviewers’ thoughts about the CCA Duo. We are not nearly all the same. We all have different music libraries, likes and dislikes, preferences, hearing abilities and we all haven’t been down the same path in audio. I say this in every review; make sure to read, listen to, or watch other perspectives so that you will have a good understanding about the Duo and can make a better-informed purchase.With all that said I also want to thank you the reader for checking out this or any review that I write. It means a lot, it’s great for the website and my best wish is that it helps you to make a purchasing decision. Please leave a comment at the end of this review or ask any question and I will surely try to get to them. Take care and as always… God Bless!
Hiby R6 Pro ii Review
Hiby R6 Pro ii
Intro
Hello, this is my full written review of Hiby’s brand new mid-level dap, the “Hiby R6 Pro ii” or R6P2 (as I’ll refer to it for review purposes). I received the R6P2 as I was part of the Hiby tour which brought to me the Hiby Zeta (Hiby Zeta Review HERE) as well as the R6 Pro ii. So far, I have been more than impressed with this beautiful digital audio player and hopefully I can tell you why in a way that makes sense to you.Hiby
The audio company Hiby has been around for quite some time, since around 2011 and have mostly specialized in their Digital Audio Players (DAP) as well as smaller dac/amp dongle for mobile uses. Hiby seems to specialize in R&D, and it is evident in their products. I haven’t been able to actually test out most of Hiby’s DAP products besides the Hiby R3 Pro 2022 and the dap I’m reviewing today. That said, they have a very extensive list of Daps from the budget sector all the way to the high-end arena. Hiby also has a very nice list of Dongle Dacs, dac/amps, iems and even a few True Wireless to round out their product list. Truly it’s quite impressive. I suppose that I had no idea how extensive it was until I really dug deep through Hiby’s history.With that said I was very excited to get my hands on this unit in particular as it boasts some nice specs and quality Internals as well as a beautifully big screen. Like I said, I will try my best at informing the buying public of my thoughts so as to possibly help to make a purchasing decision. I will always give my thoughts and only my thoughts and I’m not in any way swayed by the fact that this is a tour unit. Without further ado… The Hiby R6 Pro ii…
Purchase Links:
–Hiby Store–Amazon US
–HiFiGo
Gear used for testing
–Yanyin Canon–Fiio FH9
–Shanling MG600
–Hiby Zeta
-Who am I kidding, most every iem in my collection
Specifications
Main features
Model: HiBy R6Pro (Gen 2)Operating System: Android 12
SoC: Snapdragon 665 (8-core 1.8GHz kryo 260)
DAC: AK4191EQ+dual AK4499EX (nOCTA-DAC output architecture
for all outputs)
Audio formats: DSD1024 / PCM1536KHz/32bit / MQA16X
Output ports (analog): 3.5mm PO / 4.4mm BAL
3.5mm LO / 4.4mm BAL LO
Output ports (digital): Typе-C USB and coaxial digital
Wireless functions
WiFi frequencies: 2.4 GHz and 5 GHz supportedBluetooth: Two-way Bluetooth 5.0
Hi-res Bluetooth Codecs: UAT LDAC APTX APTXHD AAC SBC
WiFi audio: Airplay/DLNA/HiByLink
Display specifications
Screen size: 5.9″Display type: IPS
Resolution: 1080-2160
Storage configuration
RAM: 4GB (LPDDR4X-1866)Internal storage: 64GB
USB port: USB-2.0 and 3.1 compatible up to 10 Gbps bandwidth
Micro SD card slot: Supports up to 2TB
External features
Color choices: Black/ PurpleChassis material: Aluminium chassis with toughened glass backplate
Dimensions: 147.45 x 75.2 x 15mm
Weight: 285G
Power specifications
Charging: 9 Volt-2 Amps or 5 Volt-0.5 AmpsBattery capacity: 5000mAh/3.8V
Play Time(Battery Life): 3.5mmPO (Class AB): 8 Hours
4.4mmBAL (Class AB): 7 Hours
3.5mmPO (ClassA): 6 Hours
4.4mmBAL (ClassA): 5 Hours
Charging standard: PD 2.0 18W
Charging time: <2 Hours 0%-100%)
Miscellaneous
Firmware upgrades: OTA online updatesFont Size: Adjustable
App 3rd Party apps: Installable
Packaging / Accessories
Let’s begin this review with a little bit of an unboxing experience run-down. First off, I should state that the packaging and box is not wasteful. I’ve owned quite a number of daps in my audio time, and this is one of the smaller boxes. Anyways, the packaging is fitting of a $749 device. Also, I should state that this is a tour unit so I honestly have no clue the arrangement of the accessories so I will skip that and simply tell you what’s inside. I do know that once the box lid comes off you do see the absolutely stunningly designed R6P2 in all its glory looking back at you as it sits in a tight hard foam cut-out. However, this thing is a bear to get out. Please trust me. I honestly thought I was going to break it. This is where you breathe, exhale and give it a little wiggle ‘n pull. Under the R6P2 you’ll find only a couple extra items. One of those items being the case which serves to protect your Hiby R6 Pro 2. You also receive a Type-C to Type-C adapter cable as well as a Type-C to Type-A USB adapter charging cable. Hiby also provides a couple screen protectors for the front and back of the unit and some reading material (manual etc.). All things considered the Hiby R6 Pro 2 is packaged well and is obviously well protected for transport.
Case
Due to the fact that I received the purple R6P2, I also received a purple case to color match. I find the case is actually very nice and just as ergonomic as holding the R6P2 without it. Made of what appears to be a faux leather material, I find this case very stylish and very trendy looking. All ports are open and accessible. I also appreciate that the case just slides on and off and is held on very well. You will never have an issue with this case falling off or sliding off like some cases. The fit is perfect as there are raised areas on the R6P2 that the case is perfectly molded to. Truly it looks fantastic. I love the stitching on the case which lines the curves of this beauty as well as the imposed “Hiby” on the back. I want to extend a pat on the back to the designers. Top notch in every way.
Build / Aesthetic
This dap is absolutely beautiful and it’s chunky too. In hand it feels awesome. Truly it is a good size and offers a very nice experience. The R6P2 has a special feel to it, like I’m holding some fully premium tech in my hand. I don’t quite know how to explain it. The R6P2 comes in both “black” & “purple”, and both are striking in design. The bottom half of the device is thinner making it very ergonomic for most any hand. Somehow, I find the look to be very elegant, almost Buji, but also very classy and sleek. There is some weight to this unit as it’s on the larger side within the world of daps. It feels substantial, and is very solid in hand, as it should be.On the back you’ll notice wavy raised grooves or lines which run up and down while following the curves of the device itself. There’s also a cool looking pattern with the name “Hiby” imposed on the back. The chassis itself is made of pure aluminum and Hiby decided on a chic looking glass backing which is likely hardened glass for protection. You may want to keep the case on.
She’s a beaut…
Truthfully, the R6P2 is one of the better designed daps in the market, without question. Hiby pulled out all the stops to assure this dap is unique and one of a kind with a special appearance for an audio fan. Personally, I adore the look and while I wouldn’t usually go for anything purple… Folks…this purple is DOPE!! Flat out and hands down one of the best-looking daps… period!! End of discussion. Now, I would have loved to see a volume wheel like my iBasso DX240 or my Shanling M6 Ultra, but we can’t have everything we want. To be honest I feel that after a good hour of use the controls become second nature, but I’ll cover that later.Ports & Buttons
You’ll notice on the bottom the 3.5 PO outlet as well as the 4.4 balanced port as well as the 3.5 LO and 4.4 LO ports right next to them. Underneath you can also find the Type-C USB & Coaxial Digital outlet as well which supports data transmission as well as PD2.0 18w charging. All well placed however I do tend to prefer ports on the top I must say that this is a minor thing for me. I have daps that have them both ways and enjoy them all. Along the left side are the next & back track buttons as well as a pause & play button. On the right side are the volume control buttons (100 steps) as well as the power button for on & off.I find the button placement is good and they function very nicely. Really, it can go one of two ways with buttons folks. I’ve had daps with less than adequate buttons in the past that have no haptic recognition of the button push. The R6P2 on the other hand has nice responsiveness with a good tactile compression on each button, and a nice click when pressing down. There’s also a micro-SD card slot that supports up to 2 tb cards. I used a 1 tb card and loaded about 800gb of music. One other small gripe for me; the music loaded slower for me compared to other daps. Not that it’s unbearably slow but should be mentioned.
Screen
One thing which cannot go overlooked or understated is the beautiful IPS 1080×2060 5.9″ screen. What a very nice screen! Much more vibrant than Fiio offerings at the same price point and much more visually appealing and bright than my Shanling M6 Ultra. Truly it is beautiful, and it’s only rivaled by some iBasso dap screens, which is a huge compliment. The screen boasts great colors that are very radiant and showy and really help to make album art “Pop”! One of the highlights of the R6P2, without question. The screen is huge and is reminiscent of a large smartphone screen. The pixel density is fantastic and if you value album artwork… at all… then you will value what the R6P2 can provide as far as the screen is concerned. The screen has excellent responsiveness to finger taps as well.Under the hood
Hiby went a very unique route in choosing the dac chips as well using two of AKM’s latest Dac chips, the AK4191EQ + dual AK4499EX which can output and astounding 32bit/1536ghz audio. Another treat is that the R6P2 can also play DSD1024. These dual dac chips allow the R6P2 to have complete system bit-perfect audio bragging rights. I happen to love this. This means that most 3rd party apps can operate “bit-perfect”. One other nice functionality is 16x MQA unfolding. Yeah yeah, I know, MQA is donzo. Still, if you need it… It’s there.Class A/B & Class A
I love Hiby’s usage of both class A/B as well as class A amping circuitry which is very simple to quickly change-up depending on your power needs. The amp circuits are operated using two OPA1652 chips as well as 8 NXP Bipolar Transistors. These amp circuits also work in tandem with two dedicated NDK femtosecond precision Crystal Oscillators (45.1584MHz / 49.152MHz) for an ultra-low noise floor & jitter which basically helps the sound to come across cleaner.There is a lot going on and it’s all working in Hiby’s favor. Especially having both Class A/B & Class A options, as there are a few reasons why one would want this ability in their dap. It’s nice to be able to tailor your power output per the iems or headphones you are choosing to use. I found that class A/B amping to be plenty for most of my iems but if I’m being honest, I did still use Class-A most of the time. Second, you can also switch to Class A/B for better battery life as there is most certainly a difference in the length of listening sessions depending on what amp circuit you choose.
Differences in amp circuit
Another thing…there is a definite recognizable difference in sound quality depending on what amp circuit you are using. Not that the A/B is much worse, but I did notice an actual audible difference going between them. I found the Class-A amp to be a more refined version of the same sound. I felt the stage widened; transient attack tightened up a bit too. Also, the bass gained density and became more taught and generally the sound seemed more expressive with slightly more pronounced macro-dynamics. Hence why I chose to keep the Class-A amp mode turned on for most of my time critical listening.Output power
This is something that I must bring up as I know it’s on the mind of those who are looking for their next dap. One thing we are always looking at is the power under the hood. Now, the R6P2 isn’t exactly a powerhouse. The output power of both classes of amplifiers is the same, 125mw using 3.5 single ended and 383mw running 4.4 balanced. Yes, I realize this seems low and in truth it is. In fact, for a Dap this price it’s very low. However, this doesn’t stop the R6P2 from easily driving any iem that I have in my collection. From Final Audio products to planars the R6P2 has plenty of juice. What’s great is that there is very little hiss which makes your listening very clean from the jump. It may seem low but have no fear, the R6P2 is perfectly capable of driving any iem and most headsets with plenty of headroom.Battery
This is one area that I found a bit of an issue with. First let me start with the specs (listed above too). The R6P2 has an inboard 5000mah battery, which rivals most smartphones. You cannot swap batteries either (if you are wondering). Hiby states that you can get roughly 8 hours using 3.5 mm PO and 7 hours using 4.4 balanced on class A/B amping. If you choose class A amping Hiby says you should be around 6 Hours on 3.5 and 5 Hours on 4.4.Battery usage
There is a lot to unpack to reach those numbers. Let me start by saying that I didn’t get quite that amount of usage time. I used class A amping on 4.4. balanced most of the time while I listened to my Playlists. When listening, I usually scroll through (screen on) and then turn the screen off to listen. I do this 100% of the time unless I’m listening straight through an album. I would usually get around 3 hours and be at about 20% battery life remaining when listening to the R6P2. Now, I’m sure you may get close if you watch your volume, gain settings, keep the screen off and less bright when it is on, turn Bluetooth off, turn Wi-Fi off and a few other settings and by all means, if you want to save your battery use the Class-A/B amping when you can.The same can be said for each of the hour ratings that Hiby states in their promotional material. I noticed a little bit less but again, I also scrolled through album art and searched for titles after each track and such. So, it’s partially my fault. Granted, I use my other daps the same way and battery life doesn’t seem to drop as quickly. With all that being said, I don’t think battery life is terrible. Hardly am I listening for over 3 hours in one sitting. I have children, a full-time job, a house that needs to be tended to and so I relish my time that I get to chill for more than 4 hours.
Memory
The R6P2 comes equipped with 64GB ROM which is great for apps and all the regular duties of an Android player. Also, 64GB is pretty much standard in this price bracket which is great to see. Again, plenty of memory for storing 3rd party apps from the Google Play Store. Hiby also added 4GB of RAM which is the least you would need for Android 12 and helps the R6P2 to feel quick scrolling through apps and the home screen and settings menus. Honestly, if you’d like to use the R6P2 for videos on YouTube or even scrolling through Facebook it feels identical to a smartphone and offered zero hiccups or issues that I found.
UI Functionality / Software
One thing that impressed me was the implementation of Android 12 in dap form. I feel Hiby created an Android infrastructure that doesn’t skip a beat from something like a smartphone. Going from my Galaxy Fold 4 to the Hiby R6 Pro 2 I honestly wasn’t missing much. The home screen UI as well as searching through apps and settings is a breeze. Truly a snappy experience! The R6P2 uses a hobby best SOC in the Snapdragon 665 which happens to be a 1.8 ghz Kryo260 8-Core (Octa-Core) chip. Please trust me this thing is fast. However, for whatever reason there were some apps that were rather sluggish. I don’t think it was a processing issue at all but a compatibility issue maybe. Not a horrible issue but something to note. Surfing the web was breezy and almost all functionality that an Android dap would be capable of is a whizz on the R6P2. Really, the designers & engineers should get a pat on the back… Here is me clapping!!! Android 12
If ever you’ve used an Android smartphone or device, then the R6P2 will suit you just fine. To be honest the R6P2 is just as quick as my other daps, if not a pinch quicker. Simply just sluggish with some 3rd party apps. The essence of Android 12 is captured very well as Hiby actually uses their own spin on the operating system with a very slightly remade version of Android 12. We see this often with Android devices. Some things remain exactly the same however, as in the way the build feels and operates exactly as a smartphone would yet with some added tweaks that Hiby made. Whether it be adding widgets, changing home themes (I used Nova) or swapping wallpapers, display settings, developer settings, and everything in between the R6P2 handles these adjustments perfectly and without issue.
Hiby Music Player
I won’t go too much into Hiby’s own music player which you can also get through the Google Play store and put on any device. Anyways, the Hiby Player is in my opinion one of the best music players you can get for anything Android. I use it frequently along with USB Audio Player Pro (UAPP). I find that the aesthetic of the player is very appealing with album art that bounces off the screen and a UI that is very easy to navigate. Plus, there are a myriad of functions and settings to change up the sound to your liking (MSEB next section). This is truly an all-in-one type of music player that I do recommend you check out. Anyways, the Hiby Music Player comes as an on-board app on the R6P2.
MSEB
One feature that is worth noting within the Hiby Music Player is the fantastically designed and imagined “MSEB”. As you scroll through settings you will easily find the “Audio Settings”. Inside the audio settings tab you can swap different filters among other things relevant to a digital audio player. You’ll also notice MSEB tuning which is a Hiby exclusive and does a fantastic job of tuning your music per your preferences. If you haven’t checked it out, then I would push you to do so. MSEB is actually a type of equalizer which makes tuning easy to understand and use. Actually, it’s about as easy as it gets. Hiby basically uses their own adjustable version of preset settings which are labeled and made ridiculously easy to learn and play around with. I don’t usually use any equalizer settings but for those who do, MSEB is a game changer.HibyCast
This is a cool feature. HibyCast allows the user to operate his or her R6P2 from their smartphone. Now, just about every dap I own has this functionality already, but I find that Hiby does a great job at implementing it. The responsiveness is very nice and quicker than even some more expensive daps that I own. You can play any app, browse, control music, Bluetooth, basically anything.Bluetooth
It should be noted and added to this review simply for purposes of my due diligence, the Hiby R6 Pro 2 does have two-way Bluetooth abilities. Meaning, you can use the R6P2 as a Bluetooth Receiver or a Transmitter. This has been around for years but not all daps make good use of it. Just for the sake of honesty and transparency I did not use this feature as it doesn’t make sense for my use cases but it’s nice to have when you need it.The R6P2 operates Bluetooth 5.0 and carries a number of high-quality Audio Codecs. Namely the R6P2 has UAT (Hiby owned), LDAC, Aptx-Hd, Aptx, AAC & SBC Codecs. There are some very high-quality Codecs at play here ladies and gentlemen. UAT can transmit up to 1200 kbps and 24bit/192khz audio and LDAC can run around 990 kbps and 24bit/192khz audio. Aptx-Hd can get up to 576 kbps and 24bit/48khz while Aptx can achieve 16bit/48khz and 352 kbps. Obviously, you would want to use the better Codecs and it’s always nice to have some good quality choices.
Also, if you so choose, the R6P2 can be used as an external dac which can be useful for a desktop setup and is nice to have the option. Of course, this has been around for quite some time but worth making a mention of it.
Listening Impressions
Let me start off by saying that I truly enjoy the sound quality of the Hiby R6 Pro 2. Right out the gate I want to get that out of the way. I used many different iems in my R6P2 journey, please trust that. Okay, I used every iem I have in my arsenal… which is many. However, for critical listening I chose to focus on a few that made the most sense to me. Looking through my collection of iems, I obviously went with the Hiby Zeta as the two simply sing together. I also went with the Shanling MG600, the Fiio FH9 and the Yanyin Canon predominantly. It was on my mind to see how well the R6P2 could refine the transient behavior of the MG600? Could it add some snappiness to the FH9’s treble? How well was the R6P2 able to tighten the bass response of the Yanyin Canon? These are serious questions I was seeking. I already own daps that can do these things, but they are more expensive and truthfully should be able to. That said, the R6P2 has a secret sauce my friends.
Tonality/Timbre
To start I found the R6P2 to be closer to warm/neutral than it is warm, ever so slightly colored but mostly natural. I found the R6P2 to have a generally tight transient attack throughout the mix and lively macro-dynamics. Note density is pretty good and each note is clean and clear with fantastic transparency. In fact, transparency may be the R6P2’s superpower and greatest attribute. What this does for my iems is very enjoyable. The Zeta, MG600 and Canon absolutely benefit from the overall tonality and quickness with which the R6P2 manipulates the sound. The R6P2 added some lift to an overall warm set while also cleaning up the midrange as well.Bass
The bass is not the star of the show and in my opinion is more of a “part to a whole” type situation more than anything. Saying that, I’d also say that the bass is quite solid with a tactile feeling in the sub bass and a tightened and deft mid-bass. I find that the bass is well in control and is mostly an uncolored and pristine and doesn’t extend into the midrange to any detriment. Listening to iems that I’ve spent too much of my life listening to, I can positively attest that the R6P2 created a better version of my bassier and more atmospheric iems in this region. The R6P2 will not increase the quantity of any particular set but it will increase the quality of the bass compared to inferior sources.Let me make it clear that the R6P2 does not enhance the quantity of the bass. This is not a forward sounding low-end with a colored and fun sound like my Shanling M6 Ultra. I would call it a more audiophile and fun sound. I feel there is equal presence between the sub-bass and mid-bass, for the most part and plenty of emphasis, texture, dynamics and clarity to create an authentic experience which will really show off the tonality of the iems or headsets you choose to use.
Midrange
The midrange provides a clear picture in my mindscape as the MG600 certainly benefited the most from the R6P2’s. Truly I find the midrange my favorite area of the “big three” (Bass, Mids, Treble). Not quite milky and buttery but rather transparent velvet. I hear a midrange that casts a more warmish neutral and cleanly translucent auditory expression all the while remaining quite smooth and full sounding.Despite the smoothness there is a relatively defined edge to notes which have a conciseness to them and some rigidity, yet they don’t come across tacky or abrasive. The midrange sounds as though it is pushed a bit more forward while keeping in good control and never shouty to my ears. I actually really enjoy the emphasis here. The mids are just enough forward to shine a light on vocals and instrumentation without crossing that line to sound metallic, grainy or shouty.
Vocals
Vocals come across a pinch thinner in the midrange than you may be used to if you are coming from a warmer sounding dap or dac, but I didn’t find the sound papery or dry at all. In fact, it’s the opposite. Note body has a nice structure yet still feels more relaxed than they are energetic. Note outlines have a nicely round feel with great presence. The low-mids have a bit more girth and are a titch more smoothed over for male vocals. Still very highlighted and featured in a very well composed manner. The upper-mids are slightly thinner but come across absolutely crystal in sound. Females generally sound more pronounced to me; they have a bit more of a shimmer to them. I think one of the strong suits of the R6P2 is its ability to render the vocal delivery of both male and female singers.Vocals cont…
There is a depth to vocals or a 3D sense to the sound that really drew me in with my more mid-centric iems. I’m assuming that vocals and instrumentation greatly benefit due to the dual dac architecture. Like I said, there is depth to the sound, or this controlled ductility to the sound, as if you are hitting a note from all sides. Other than vocals, details are easily illuminated and easy to discern as well. Timbre in the midrange is spot on to my ears, which, take that how you want to, but I feel the sound is very close to natural, or at least how I imagine natural should sound. The best way to put it is that the sound is mostly uncolored and not at all processed or digital sounding. The natural smooth nature of a human voice is captured. It isn’t super edgy like we often hear and it’s great to see this in an under $1000 dap. Great job Hiby.Treble
The highs are balanced with the rest of the mix in my opinion, and I noticed that iems with emphasized highs don’t become shouty or shrill. In fact, I think the R6P2 helped to refine them a bit with its more laid-back approach. The treble has a decent punch to it without coming across coarse and glassy. I wouldn’t say the treble is necessarily crisp but there is good definition which makes for a detailed listening experience. The treble is emphasized and accentuated but never sounds harsh. It’s actually good for extended listening sessions without offering fatigue. Don’t take that as though there isn’t brilliance there either because the R6P2 has just that, except it’s conducted in a controlled & measured way that balances with the rest of the mix quite well.I also find the treble to have nice extension and great clarity past 10k for any track I threw at it. Obviously not every iem I have had great extension, but I found the R6P2 only improved or coached my iems to follow suit. I enjoyed the expressive extension and dynamics that really seem to extend to the furthest reaches of the psycho-acoustic sound field. Meaning, at the furthest reaches of the stage I feel the sound keeps its focus generally. I don’t want to oversell but I have to report what I hear; the treble is well tuned, and my hat goes off to those who played a part in that.
Technicalities
Soundstage
I find the soundstage width, height, and depth to be on part with other daps in its price point. Of course, I can only make these judgements against any daps I’ve actually listened to, but I do find the stage to be a more immersive experience than the Fiio M11 Plus ESS for example. As you move up to higher priced daps like the iBasso DX240 or Shanling M6 Ultra it is more of a fight. One quality of the stage that I find to be very well accomplished lies more in its depth of field rendering.Separation / Imaging
This is where we begin to see the R6P2 start to really distinguish itself from the others in its price point. As far as separation goes the R6P2 does a great job of partitioning off elements of a stage and delineating some exactness and roundness to individual instruments or voices. Imaging walks hand in hand here too. In fact, imaging may actually be the R6P2’s other superpower. I loved listening to live tracks with this dap. I loved picturing what I was hearing because the R6P2 does so well at imposing these images into my frontal lobe. Whether it be left to right or front to back the cleanliness with which the R6P2 is tuned, the quick transient response, the clean background, the spatial recognition and the layering ability are each very well accomplished and together each of these attributes combines plays for a very nice end result.Details
One thing you won’t complain about is the R6P2’s ability to illuminate and bring to the surface the minutia and micro-details in your music. The R6P2 is speedy, transparent, clean, uncolored, balanced across the mix and the R6P2 has great spatial recognition and separation. Just like imaging, all these abilities form to help prop up the subtleties within a track. I would say that the R6P2 is one of the better detailed daps under $1000 that I’ve personally listened to.
Is it worth the asking price?
Okay, so this is a pretty loaded question. For me, I think the Hiby R6 Pro 2 is well worth the asking price. In fact, I think it can be considered one of the better daps under $1000. It certainly is a contender. However, there are some subjective qualms which some may find. Like, the bass is not emphasized in a way that adds more fun to the sound. Is this an issue? Maybe it is for you? For me, I think the R6P2 only added quality to the bass section. Or, maybe you don’t want a more forward midrange or a laid-back treble? Maybe you want more power to drive your more difficult iems and headsets? Maybe battery life is a concern? These are legitimate questions to ask yourself. However, I think those questions go to the minority of people and I do feel the majority of people will see the upsides of the R6P2 and truly enjoy this dap.The why…
The R6P2 has so much going for it! First off, find a better-looking dap! I’m waiting…. Seriously, the Hiby R6 Pro 2 is a baddy my friends. Gorgeous! Also, the screen is absolutely phenomenal for a Dap at this price. I promise each and every one of you the screen is awesome for album art, videos, or simply scrolling through the web. You will not be let down. The screen is vibrant, bright and huge.There are also so many ways that I didn’t cover to manipulate the sound in the Hiby R6 Pro 2 as well, and by the way… the sound quality is fantastic! I really hate to send this unit on its way. This is the absolute truth. I wish it was mine and pretty soon I will have to box it up and send it back. I’ll need some consoling. It just adds this transparent and natural flavor to the sound that my other daps don’t necessarily have to the same degree. Granted I love my other daps, but Hiby really nailed this one for under $800. Is the Hiby R6 Pro 2 worth the asking price? You Betcha!
Conclusion
To conclude my full written review of the Hiby R6 Pro 2 I want to thank Hiby and Joseph Yueng for providing this tour unit. Ya know, they have been very accommodating and it’s an honor to be able to review such high-quality gear. In truth it makes my job so much easier. So, thank you. I also implore you all to check out other reviews of the R6P2. Making such a high price purchase is no small thing. It would behoove you to listen to, watch or read other impressions and thoughts about this unit. Like I always say, we don’t all hear the same, we don’t all have the same gear, we don’t all have the same likes and dislikes, and we haven’t all been down the same audio journey. Heck, we clearly don’t all have the same level of knowledge in this audio game. I simply want you to make the right choice and hearing all sides and all opinions only helps. With that I also want to thank anyone who chose to read my words on this very nice new DAP from Hiby. It has been my pleasure, so please take good care, try to stay safe and always…God Bless.
Hiby Zeta Review
Hiby Zeta ($1,399)
Intro
This is my full written review of the Hiby Zeta, which happens to be Hiby Audio’s latest flagship iem. This is Hiby’s first try at what would be considered an “end game” iem (at least that I know about). I want to thank Hiby for including myself as well as mobileaudiophile.com in the review tour of both the Hiby Zeta and the Hiby R6 Pro 2 (gen. 2). I greatly appreciate the time I’ve been able to spend with these two audio devices and I do hope that this review will help in making a purchasing decision. Truly this has been an eye-opening experience in getting to spend time with the Zeta.Hiby
The audio company Hiby has been around for quite some time, since around 2011 and have mostly specialized in their Digital Audio Players (DAP) as well as smaller dac/amp dongle for mobile uses. Hiby seems to specialize in R&D, and it is evident in their products. I haven’t been able to actually test out most of Hiby’s products besides the Hiby R3 Pro 2022 as well as the Hiby R6 Pro ii (also part of the tour). That said, they have a very extensive list of Daps from the budget sector all the way to the high-end arena. One of these days’ friends. Hiby also has a very nice list of Dongle Dacs and even a few True Wireless to round out their product list. Truly it’s quite impressive. I suppose that I had no idea how extensive it was until I really dug deep through Hiby’s history.Along the way Hiby has also gravitated to the in-ear monitor side of the audio game and actually created some very well done iems for their time. Namely the Hiby Seeds, Hiby Seeds II, the Hiby Crystal 6 and its successor the HIBY crystal 6 II. Even their budget oriented Hiby Beans was a nicely tuned bullet style iem which didn’t get very much attention but certainly should have. I was able to check out the Hiby Seeds 2 and I’ll be perfectly honest, the Seeds 2 is a fantastic iem that fell almost entirely under the radar. It is a shame because it is truly a fantastic V-shaped set.
End Game
I haven’t reviewed any real TOTL sets past the $1,000 price point, I just want to be honest. However, I do think that I can give a good account of just how well, or not, the Zeta is tuned, and what kind of value it is. One thing is for sure, Hiby is trying to nip at the heels of the best iems in the business. The Zeta is truly a phenomenal example of artistry, coupled with knowledge, coupled with skill as well as the ability to put these all together to form a product they can be proud of. Certainly, they should be proud of this one, let’s just get that out of the way right now. Surely at least for some, the Hiby Zeta will be an end game iem. That said, I will do my humble best to present the Zeta in the truest light that I can. The Hiby Zeta everyone…
Gear used for testing
-Ifi Go Blu-Hidizs S9 Pro
-Moondrop Dawn 4.4
-Hiby R6 Pro ii
-Shanling M6 Ultra
Packaging
The Hiby Zeta arrived at my front door in a slick looking rectangular box with a neat looking gold on black design. Upon removal of the box top you are instantly met with the bold and beautiful looking Zeta earphones sitting pretty in cut-out foam partitions. The earphones themselves sit on one side of the box and the storage case box is on the other side. Now I am only assuming “how” the Zeta was packaged, as I have a tour unit, and nothing arrived at my door where it was supposed to be inside the box. So, if the picture I attach is not correctly “put together” than please forgive me. That being said, I think I have it figured out. Anyways, under the earphones you’ll see an accessory box which when opened has a tray full of eartips. Hiby also added two little drawstring bags to protect the earphones, a magnetic cable clasp and a cleaning tool. Lastly, as you look inside the beautiful case you will find the cable. I realize I wrote this very dry but in truth the unboxing experience is quite nice after you are done uncovering all of the goodies provided. Is this a $1, 400 unboxing, and is it $1,400 good? I suppose that’s debatable. For what it’s worth I think it’s more than fine and the quality of the the accessories speaks volumes. Not bad at all Hiby.
Carrying case
The case that Hiby chose to provide is a really premium looking leather case in a short cylinder style. The case has a fresh-looking color of blue and instead of using a zipper or a magnet to open and close, this case instead simply slides off and on. Really there is enough resistance and grip to hold and protect these very expensive earphones without worry of the case lid falling off. In the center of the carrying case is the brand name “Hiby” which is encircled by some nice-looking stitching. Inside is a soft material for keeping your gorgeous Zeta earphones protected and cushioned.
Ya know, I never use a case and if I do it’ll be something simpler and pocket friendly. Also, who is taking their $1,400 earphones out and about? That’s what sub $200 earphones are for. However, I digress, the case is more than adequate and truly suits the whole mystique and premium vibe of the Hiby Zeta. It’s a very nice addition.
Eartips
Hiby provided a slew of very nice eartips with the Hiby Zeta which I would easily utilize with some of my earphones. They give you three pairs (S, M, L) of wide bore tips that have a shallower fit and have a nicely firm flange. Hiby also provides three pairs (S, M, L) of some medium bore silicone tips which are a bit longer and fit deeper in the ear. The last set of three tips (S, M, L) are actually some hybrid silicone and foam set of tips which are also of very good quality. Nine pairs of tips in total and all are able to slightly skew the tuning of the Hiby Zeta. I actually ended up using the included straight silicone tips but did spend time with each set and even used some 3rd party tips. Other tips which I found nice with the Zeta are the KBear 07′s, the Tenmak Whirlwind tips, Dunu S&S Tips and the TRN Clarion tips.
Cable
The provided cable will either be adored for its crazy contrast to the colorway of the Hiby Zeta, or it will not be pleasing at all. This was an odd choice or a genius choice by Hiby. You have a strikingly beautiful iem of silver Titanium with textured matte silvers and a high mirror polished in artistic portions of the faceplate only to have a bright & vibrant blue/purple cable. It certainly wouldn’t have been my first choice. However, I like it, shows how much I know. I think it’s another nice addition and absolutely love the pairing. In the same breath I could easily see some of my fellow hobbyists looking at it with a puzzled glare. I think the cable is gorgeous and very well-mannered and it isn’t microphonic at all. The cable is pliable, soft enough, it rolls up nicely, and is just beefy enough to look premium.
The included cable is a 22AWG, .078 2-pin, 8-core Litz fully balanced OCC Copper cable utilizing a 4.4 plug. Again, Hiby chose the Litz braiding, which is nice to see, not my favorite but nice. Hiby promotes the cable as having a low resistance and a low loss signal transmission. Due to the fact that this cable came with the tour unit I didn’t swap cables and simply went with the included wire that was given and so I couldn’t test out any other cable combos with the Hiby Zeta. In my opinion it isn’t bad. Of course, we’ve seen seemingly better cables in earphones for much less, but it’ll get the job done and looks flat-out DOPE paired with the Zeta. To be honest I think it complements the mirror finish of the Zeta nicely and really helps the silver POP somehow. Very nice but I’d understand anyone not enjoying it as much as I do.
Build / Design / Internals / Fit / Drivability
Build Quality & Construction
Titanium is the material of choice which was used in the construction of the Hiby Zeta and judging by the feel and weight I feel that Hiby made a nice choice. They could’ve used any material at the price the Zeta is being offered for, but they went with a very light and durable material in Titanium. Titanium is actually quite ductile and has a very high strength-to-weight ratio. Obviously, this is a bit overkill for a set of earphones, but the material certainly looks nice and feels great in hand and in the ears. The actual size of the Hiby Zeta is a pretty chunky so to fit all those drivers inside so do be aware. We already know that there is a 2-pin connection at the back as well as one small back vent under the female 2-pin connection. The nozzles maintain the titanium matte texture all the way to the nozzles and is capped off with a nice metal mesh grill.
Design & Aesthetic
This is another area where the Zeta will either blow you away… or not. For me, I think the design is absolutely gorgeous. The entire shell has this matte silver (titanium) surface that is textured to a degree. Also, the faceplates have these mirror polished squiggly lines (possibly lightning?) which only cover about half of the faceplate and look so appealing to me. I think it’s a fantastic design touch. Truly premium in every sense if the word. Possibly a little boujie but also pretty tough looking in the same sentence. The finish of the shells offers this soft glow in the right light and is very smooth to the touch. Hiby also etched their company name into the faceplates as well which doesn’t look bad but would probably look better somewhere else. The Hiby box actually states that this is an “artistic” iem. I’m not entirely sure what that means but based on the look of the Hiby Zeta, I think I have an idea.Youthful Vibe
The Zeta looks just as beautiful as they should for the price. Of course, under $100 you can find nicely crafted alloy metal iems with unique designs. To be honest they are becoming a dime a dozen. So, what sets the Hiby Zeta apart? For one, Titanium is a solid choice for shell material. It’s much more durable than a softer metal like aluminum which we often see. Also, Titanium is much lighter than a traditional Zinc alloy which we also commonly see. Of course, this is not the first, nor will it be the last to use titanium. I think what truly sets the Zeta apart is the design language. It’s fresh, it’s flawless and it’s very high-end in appearance. More so than many other premium sets within the price point. I think the design is very well accomplished. Now, is this for everyone? Almost certainly not. The Zeta has a more youthful vibe and a flashier exterior, so I do think it is somewhat of an acquired taste.Internals
Hiby chose to add a total of nine drivers inside of the Zeta which is a bear to tune without coherency issues as well as a number of other problems which can arise. Not only does it have nine drivers, but the Zeta is also a tribrid iem. The Zeta utilizes a 5-way electronic crossover unit, and 5-way acoustic chambers. As far as drivers… The Zeta uses Dynamic Drivers, Balanced Armatures and EST drivers. The sole Dynamic Driver used is actually a 10mm Liquid Silicone with a custom Kevlar Diaphragm. Hiby also went with four BAs in total, all made by either Knowles or Sonion. The last part I adore as Hiby decided upon four “3rd generation” Sonion EST’s. Now, Hiby crammed all of this into a shell that is not larger than any regular sized iem out there. Don’t get me wrong they’re big but they don’t appear “nine driver” big.Fit
That was a perfect segway into the fit category. Obviously, what good is an iem if it doesn’t fit you well? Basically useless. However, I can certainly answer this question for myself. The Hiby Zeta fit like a charm. Truly, they hug my ear as though they grew there. There isn’t a jagged or rough edge on the Zeta. The comfort is very nice for me. Of course, I have zero idea how the Hiby Zeta will fit you. I found the Zeta very easy for me to get a good seal with the included tips and it didn’t take me fiddling to get them to sit right. The nozzle is medium length, not too intrusive and long and not too shallow and short. For me it’s just right. I found isolation to be fantastic once a good seal is met. Also, there isn’t a whole lot of sound leakage happening either.Drivability
The Hiby Zeta is rated at 9 ohms, with a sensitivity of 112 dB/mw. To be completely honest and slightly joyful, the Hiby Zeta can be run off of most any source. Obviously, I don’t have a smartphone with a 4.4 balanced port but every source I tried the Zeta out on had plenty of headroom and they just felt very sensitive. This is pretty good news. Of course, 99% of the time if you have the change laying around to purchase a $1,400 iem then more than likely you have a good source to drive them with. I found the Zeta paired nicely with more resolving sources but truthfully played well off of anything. These are subjective thoughts obviously.Turning to the IFi Go Blu for mobile purposes I found the Go Blu to have way more than enough juice on 4.4 balanced. The dynamics were great; however, this was my least enjoyable source of all. Don’t get me wrong they pair just fine but the others were simply better. The Go Blu has a warmer and lusher Cirrus Logic CS43131 dac chip, but it also has plenty of driving power. All together it sounds nice but a hair warm and less refined off of Bluetooth and LDAC.
Dongle Dacs
Using my Moondrop Dawn 4.4 which also uses the CS43131 dac chip I heard a completely different sound. The Dawn has a more rambunctious and analytical type sound which focuses more on macro-dynamics and dynamism in general. I love these two together. Using the Hidizs S9 Pro I didn’t like the sound quite as much simply due to the ES9038Q2M’s sound when paired with the Zeta. Again, it sounds awesome but simply doesn’t as clean as when pairing with the Dawn 4.4 to me.DAPs
Moving onto some daps, I began with the Hiby R6 Pro ii and its AK4499EX + AK4191EQ dac chips. The extra power was a clear indication that the Zeta thrives off of a better source and more power given. Running off medium or high gain and using Class-A amperage. Heck even using the Class A/B amping I was more than impressed. Separation and staging simply got an audible boost and the bass clearly tightened up. It is audibly obvious that the Zeta scales to the quality of the source quite well. Of course, the R6 Pro ii is slimmer on the low end without calling it slim… perse. Still nicely tightened and clearly resolving these two seem to pair very well together.My personal favorite way I listened to the Zeta was with the Shanling M6 Ultra, however. I was in heaven as i found the tonalities of this source and the auditory qualities of the Zeta to marry perfectly together. The M6 Ultra does have a more velvet sound yet very resolving sound without coming across too thick or veiled. Butt it’s also so very clean with great note weight and transperency. Transient attack/decay seemed so exact yet also dynamically expressive throughout. The M6 Ultra has the AK4493SEQ dac chip which does wonders paired with this set.
All you really need
Basically, the Zeta will run off of almost any source and for all intents and purposes the Zeta plays well with most sources. Perhaps some are better than others depending on your preference. I can say for sure that better sources as well as more amperage will help to bring out the best in the Zeta. However, in the end all you truly need is a good dongle dac, the better quality… well…the better. The Zeta will reward you and your ears will thank you. Of course, I wouldn’t think that anyone who would be able to purchase the Zeta would also very likely have some good sources laying around. I would assume anyways. Truly a fantastic iem.
Sound Impressions
I have been beyond impressed with the Hiby Zeta and its ability to replay my library in this all-encompassing and dynamically pleasant manner. Truly, the Zeta commands the atmosphere around my mindscape that… all attention must be paid! This is one of those iems that abound in all directions with musicality and sound. It’s wide, it’s deep, it’s tall and the sound of the Hiby Zeta is quite infectious in the most engrossing way. There’s a richness, or a fullness to the timbre which can’t go unstated. Also, there’s great articulation to the details within any track I tested with. I hear a nice combo of detailed & dynamic, lush & nuanced within this 3D soundscape. The Hiby Zeta has macro-dynamics which abound and fill the soundscape in my mind, trult a fantastic listen. Let me explain…The Hiby Zeta sounds like a slightly warm with a U-shaped sound signature, in that the mids aren’t overly recessed (in fact somewhat forward) while the bass and treble is still well emphasized. The tonal color of the Zeta is definitely warmer with a spritz of shimmer up top. Note weight is on the thicker side throughout but mostly in the lower half of the spectrum. There is a smoother body to the sound down low with a decently rapid attack to my ears while maintaining a more atmospheric decay. The Zeta has an altogether wonderful bass region. The midrange is lush, vibrant, and musical. The treble region is very detailed, non-offensive and notes in this region are bodied and snappy. The replay as a whole is very resolving with a holographic rendering of my musical library that I haven’t heard quite like this before. I hear multiple layers with fantastic depth of field. Truly a flagship type sound.
Bass Region
The bass has a nice mix of quantity as well as maturity in my opinion. It has just enough boom and slam for my tastes. This isn’t some basshead type sound like I’ve seen reported in various places. No, this is a mature and fun sound that is prominent enough to color the sound and give off a wholly sonorous bass while also remaining kempt and clean with a bulbous leading edge and a natural decay. What I find most appealing is the smooth nature of the bass while maintaining this moist density. I find the attack to be on the softer side while there is a depth to the fundamental body of most bass notes. The harmonics in the bass region decays in a realistic way as well. There is emotion in this bass with tactility and this atmospheric unwind to the release of notes that makes instruments like percussion sound so enticing.Sub-bass
The sub-bass comes across as pretty guttural when it needs to be. I find the sub-bass to be mildly deep but very condensed, firm and compact. The sub-bass presents a clean sound that creates an impactful and thick haptic vibration when the track demands it. Tracks like “Paradigm” by The Head and the Heart starts out as gravelly, dense and deep, which on a lesser iem will almost come across as a smeared mishmash of reverberant bass… yet with a bit of rhythm to it. On the Zeta the sound is defined, sharp, textured to the core and jarring in its resonance. Still, it is in control. Or Killer Mike’s new track “Motherless” off of his latest album which also happens to be [Motherless]. Friends, the low and thrumming sonority once the bassline commences has this droning resonance which is hypnotic on this set. You also have Killer Mike’s ridiculously fresh flowing lyrics that come across pristine over top of the beat. Man, the Zeta just nails it!Mid-bass
The mid bass has a nicely atmospheric slam with a smoother tone overall. It’s milky friends! The mid-bass is deft and zestfully boomy when called upon. I don’t know how else to explain it. The bass slam is actually very fast and timely while still maintaining that elemental earthy decay/sustain. The bass is well adept to mimic any fast bass track with relative ease. However, in that speed is this juicy weight and smooth tonal character that’s buttery on the surface with an almost corporal mental image. So… Milky.Very well done…
“Abracadabra” by Young Thug has this deeper bassline that undulates with separate bass beats which chime-in with a repetitive sequence. Friends… one thing is clear; the Zeta has some oomph. That’s the best way I can say. The Zeta is great for hip-hop and similar genres. In this track Young Thug sounds perfectly separated from the cover of the bass with a layered approach which sounds deep and detailed. No this isn’t some analytical type of fast bass approach. It’s more than that. The bass is still pretty quick, but the control and density are what sets this set apart. There is depth to the bass, or a roundness that encapsulates bass notes which shows up in many different scenarios. Especially with instrumentation like bass guitar and even big kick drums.Most of my bass guitar tracks found a nice home with the Zeta. I usually jump straight to the song “Groove” by Ray Wylie Hubbard. On the Zeta this track has this tactile, juddering, and simply dirty riff that vibrates and fills the soundscape with a very clean and coarsely edged note outline, just as I’m assuming the artist and the instrument intended. Clearly there is enough mid-bass emphasis to fill out the sound without being too full and emphasized. Kick drums also sound resounding hallowed out and full and with a tacky surface texture. Bass singers like Avi Kaplan or Josh Turner sound very sonorous and heavy bodied, but also have an organic quality to their voices.
All things considered
All things considered; the bass region is the “King” attribute of the Zeta. It isn’t the world’s deepest and most dense bass, or even the most authoritative for that matter. Frankly I’m glad it isn’t. Yet I find the bass region to be unequivocally mood inducing. For example, it doesn’t matter what mood I’m in, once I hear the beat drop on “All My Life” by Lil Durk or the glassy and punchy bass drop in the track “Heatwaves” by The Glass Animals it is very easy to get wrapped up in my music. There is a saturated feeling in the low-end that still comes across layered and macro-detailed. The bass as a whole is the main emphasis when listening to the Zeta but it never comes across as a detriment to the surrounding frequencies.
Midrange
The midrange has this rather forward, or “not too recessed” presence that doesn’t have the slightest hint of veil or haze. Completely clear and clean in a warmer and smoother setting. You would think that in a heavily bass-oriented song, the rest of the mix may would be concealed a bit or masked over. Honestly, I never found this to be an issue for me. Even in these situations the midrnage still manages to be the center of attention when needed. They still manage nice note definition and a natural realism that sounds lifelike and still maintains this nicely ubiquitous and prevelant residence in the imaginary stage.Nicely tuned midrange
Hiby knew exactly what they were doing when tuning this set. It’s a different take on what a U-shaped sound can be. I find the midrange to be melodically resolving, very polished and nicely organic and clean and they don’t need any bright rise up top to illuminate them or “bring them out”. The mids are smooth in body with decent texture at the surface.You won’t hear anything peaky, won’t hear any sibilance, and you won’t hear any of that metallic timbre that balanced armatures can so often exude. I find the midrange to have a decently lush and musical sound which also remains pretty detailed for this type of tuning due to its great resolution and tighter transient attack and decay. Tight may be taking it too far actually. It’s more lifelike in body which comes across clean and tight I suppose. There is a lushness throughout yet warmer to a slight degree in the lower half of the midrange, while the upper half does sound more energetic with a slight shimmer.
Lower-midrange
There is a feeling of rich intimacy on the Zeta in the low-mids. They sound organic, natural and appropriately bodied. The sound down low is on the warmer side yet well resolving with a warm transparency.“Where I find God” by Larry Fleet is an example of the Zeta’s bodied and resolute replay while fostering the capacity to sound true to life. Larry’s voice has this coarse southern drawl that sounds sharp, whetted, yet also full on the Zeta. I hear a round circle impression of his voice. There’s depth there. The modulations of his voice have an effortless cadence. Now, his voice is not exactly up-front and forward but it is very well highlighted. I would also say that even with the warmer presentation there is still a sense of openness and smooth yet airy presence, as I don’t hear any congestion at all, even listening to complicated musical arrangements.
Lower-mids cont…
Higher pitched males, closer to tenors are obviously slightly more pronounced as in the track “Morning Song” by The Avett Brothers. I hear a certain crispness to the lead singers voice along with this 3D type amplitude. I could just say “fullness” too, but 3D type amplitude says it a little better. Anyways, this track sounds great on the Zeta, of course if you are into this type of music.As you walk up the register the sound does begin to feel more lifted, airy. Almost like they begin to glow a bit more. Well, as airy and lifted as a warmish tonal character can sound. This unquestionably is not some analytical and dry sound. Even as we begin to walk into further up the midrange, the sound has a richness to it. Perhaps they slim out to the slightest degree as you listen to higher pitch males or females but always the sound has some milk to it. I would probably say that the lower-midrange is the weakness of this set for me as it is a little fuzzier (thanks Reddit guy, you know who you are) and not as defined as the rest of the spectrum. However, this is by such a slim margin that I questioned even adding it to this review.
Upper-Midrange
In my opinion females “steal the show” as far as vocals are concerned. There is a nice emphasis which adds a very clean and controlled shimmer to the sound. Samia in her song “Breathing Song” on the Zeta is a nice display of soft musicality meets strong vocal energy. There is a verve within the velvety richness of a soft female inflection on the Zeta and Samia’s vocals on this track is a proof of that. Her voice is slightly higher in octave, but the cleanliness and note body, coupled with this subtle shimmer and depth really sounds fantastic on the Zeta. Or Jess Williamson in the song “Stampede“. The emotion of the song is so well displayed, like in surround sound her voice comes across in layers amomgst the piano play and the deep bass guitar around her. Atmospheric is really a good word to describe the sound. Call it a smooth-vibrancy with sprinkled-in luster to the harmonics in this region without ever coming across harsh.Instrumentation
Instruments in the midrange enjoy a semi-thick timbre. This is not for everyone. I for one usually gravitate to a more neutral sound, but that’s certainly not a concrete standard of mine. The Zeta is proof of that. In all honesty, I can appreciate and enjoy all sound signatures. This one happens to be a bit more on the warm side and instruments react accordingly. Instruments and voices which fundamentally reside in the midrange are generally thicker in note weight as the mid-bass spills over. There is an evident warmth to the sound that is very discernable and lucid while note outlines tend to be on the softer side. I wouldn’t call them soft in general, but they aren’t knife edged or ultra snappy. This takes nothing away from detail retrieval or resolution as there is space for separation coupled with a tighter transient attack/release. Perhaps texture takes a slight hit in the lower midrange, but it isn’t something that takes away from my music, not by any stretch of the imagination.Instruments cont…
Strings sound springy with nice secondary harmonics and depending on the track I find it easy to recognize all the tiny details which arise from a string pull. Depending on the track of course. Bass heavy songs do tend to make this a bit more difficult but for the most part strings sound great. Percussion is lively, brisk, and has great energy to operate. Snares pang with a nice intensity and the fundamental tones of a cymbal strike are crisp and full. Piano has a mostly harmonious and melodic quality that sounds very nice too. For the most part. Again, if you are listening to a bass heavy track then everything does get drowned out a bit more. This is something to consider when purchasing.
Treble Region
Now we come to one of the better surprises for me. The treble region is taken care of by Sonion ESTs, and they sound fantastic. At first listen I didn’t notice the subtleties within the treble region. It wasn’t until I sat down in a quiet place that I was able to critically listen and catch the quality of this treble. The treble is not overly pronounced or boosted. It isn’t overcooked or overcompensated. This also is not some sparkly and tinselly treble fest of brightness and luster. This is instead a treble that awards the listener with a detailed sound, both for the finer things in their music as well as a detailed listen in the structure of the sound. Each note in the treble region has definitive structure to it. There’s a nice defined edge on most notes in this area. I could use a bit more treble punch, but I do hear an almost saturated treble. Not overly dry and not forced. Resolution is superb.The Zeta replays an artist like Billy Strings very well, as in the track “The Fire On My Tongue“. What you have is rapid fire banjo play which moves along at breakneck speeds and the Hiby Zeta keeps up with no problem whatsoever. In fact, there is an emphasis on each note as the EST drivers are doing what good EST drivers do. The treble has a nice command of the space around each treble note with a highly resolving replay. As though each note has its own atmosphere. Okay I’m going a bit too hard with that but it’s along those lines. Also, details are very easy to discern.
Safe?
The treble doesn’t come across peaky, not even in the slightest. If anything, it is more of a safe tuning. Hiby did tune the Zeta to have some shimmer but not enough to sound sparkly or lustery. I certainly don’t hear any sibilance at all, and I don’t hear anything splashy or any forced resolution. It sounds as though we are hearing a treble which leans soley on the competency of the drivers and their ability to delineate instruments in this region. I really did enjoy my time with the Zeta as I heard the treble region in a new and engrossing way.
Technicalities
Soundstage
The stage size of the Zeta is rather large and full. Above average in width, height and depth, the Zeta gives a large soundscape for my musical library. I hear a wholly 3D environment that has fantastic depth of field. Holographic in every sense with great layering of sounds. This is certainly a “pro” of the Zeta as the soundstage is full, immersive and authentic.Separation / Imaging
Another great feature of the Zeta is its innate ability to separate elements within a stage. I was in heaven listening to this set as I could truly pick apart every instrument no matter the complexity of a track. The only time separation wasn’t an absolute walk in the park and easily discernible was when listening to bass heavy tracks or very poorly recorded track. This shouldn’t surprise anyone. The Zeta is extremely resolving in every sense of the word but some things even the Zeta cannot get around. Imaging follows suit with the Zeta’s ability to separate elements within a stage. There is a clear delineation between instrumentation and vocals as well as clear markers from left to right and front to back.Details
The quality of these drivers that Hiby chose to use inside of the Zeta are evident and the tuning and driver quality is really awesome. Here we have a fun sound. Think about that. Bigger bass region, big macro-dynamics, immersive, rich note weight. These cues aren’t usually markers for a set with good detail retrieval. However, in the case of the Zeta you will find this set is extremely resolving. There’s more though, any set can be resolving and detailed and usually that means analytical and dry. Hiby tuned the Zeta to be that dynamic sound yet detailed enough to not miss the minutia in a track. The Zeta has this 3d type detail retrieval where all sides of an instrument can be accounted for. Harmonics from the human voice carry weight. Guitar strings ting with residual harmonics as well and about a hundred other examples. I’d say the only time you’d be harder pressed to hear tiny details is in bass heavy tracks. All in all, the Zeta has very nice details retrieval.
Is it worth the asking price?
This has been a tough question for me. When I first heard the Zeta, I didn’t think it was worth anywhere near the asking price. In fact, it was my main complaint. I thought for sure this was going to be an uncomfortable review of my picking apart the Zeta at every turn. Just needed to give it time friends. Sometimes I just need to let the replay soak into my brain and coarse through my frontal lobe a little bit. I suppose this is why I take as much time as I do.A lot of work goes into the production of a set of earphones, especially the top tier sets, and I don’t know how many man hours went into the final result of this set. I can tell you with 100% confidence that I am blown away by how wonderful the Zeta sounds to me. Truly. For one, it’s built like an absolute TANK, yet the Zeta isn’t too heavy. The Zeta is beautiful to look at, accessories are in abundance and most importantly this is one of the best sounding iems I’ve had the pleasure of listening to. Of course, this will not be the case for everyone. I had to train my brain a bit and I had to soak this set in and run through my library of music. What I came away with is complete and utter auditory joy. I don’t think I’ll be able to afford an iem like this until my children are out of the house but that’s my issue. For anyone who has $1400 burning a hole in their pockets and values what the Zeta can bring… It’s worth it.
Conclusion
To conclude my review of the Hiby Zeta I want to thank Hiby for including me on this tour. Truly I appreciate how professional and kind they have been. I came away with a great feeling about Hiby as a company. I also want to thank you, the reader, for reading any word that I wrote. Every word I type is from hours of listening and is my exact thoughts. Now that I’ve said that I want you to go and read or listen to many other reviews. Get other perspectives. No two of us are perfectly alike. We all have different opinions and likes and dislikes, music libraries, hearing abilities and we all haven’t been down the same journey in audio. I simply want you to make an informed decision. Thank you and please take good care!
SynaestheticA
Nice review. Similar to my experience. I was part of the Aus review tour for this and still think about how much I enjoyed the treble from those EST's almost everyday.
It's hard to recommend expensive things to people. But with confidence I would say: if these are affordable to you and you want an endgame experience. Then the Zeta is for you.
It's hard to recommend expensive things to people. But with confidence I would say: if these are affordable to you and you want an endgame experience. Then the Zeta is for you.
Ceeluh7
Yes that was the only way it made sense for me to recommend as well. You certainly have to pay for those incremental changes... Lol. The Zeta truly is a very nice iem
Letshuoer DZ4 Review
Full Review can be found HERE
Letshuoer DZ4 Review
Intro
What interest this iem has cast upon the community. Today I am reviewing the Letshuoer DZ4 which comes from the good people of Letshuoer, to which I want to thank first, as well as Ivy Gao. The DZ4 just so happens to have three dynamic drivers as well as one passive radiator which if you’ve been paying attention is not a driver configuration, we see all too often… If ever. So, I was very happy to receive this set and find out what all the fuss is about.Letshuoer
Shuoer Acoustics was founded in 2016 by founder and CEO Danny To and co-founder Jeff Wong. It is apparent that Letshuoer seeks out the best in audio engineers, designers, and personalities to create products that are unique and visually appealing while sounding great. Each and every audio product that comes from this company seems to each have a distinct character which differentiates them from the rest of the products that we see in the Audioverse. Whether it be the driver configuration, look and aesthetic or sound qualities I just can’t help but think that Letshuoer prides themselves in achieving something unique and fresh.We haven’t had many opportunities to try their iems or review them very often. Mahir was able to review the Galileo awhile back (Galileo Review). Also, I was and am wholly impressed with the Letshuoer S12 Pro (S12 Pro Review). I also personally purchased the Letshuoer D13 of which I never got a chance to review due to scheduling conflicts. Another set I use for my personal enjoyment is the Letshuoer Galileo which I listen to regularly but was unable to review. Perhaps I will at some point. I can say for sure that I am very impressed with the premium feel and design language of every iem that I’ve researched or tried from this company. I can also say with assurance that a tiny bump of dopamine drips when I see a new Letshuoer iem. Did I mention that I was happy to receive the DZ4 yet?
Let’s just get into it…
The DZ4 has been thrown into an ocean of iems which are all competing for your hard-earned money, and it is my job to steer you in the right direction. This is something that I take seriously. Money is tight for so many but in the same breath I feel everyone should have the privilege and ability to hear good sound at any price. I can’t wait to get into this review friends, let’s just jump past my usual long intro and get into this irrefutably unique earphone. The Letshuoer DZ4 everyone…
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Later Comparisons: Simgot EA500
Packaging / Accessories
Letshuoer provided a nice set of accessories with the DZ4. You get what you need and everything that you get is of good quality. That’s what’s most important. The box which arrived at my house has a very trendy look to it with a cool looking graphic. Once you open the box you are met with the DZ4. On the same level next to the DZ4 you’ll see the carrying case. Inside the case are the tips as well as the cable. All pretty standard here but I do find Letshuoer gives great quality accessories at this lower proc tag. 
Eartips
Letshuoer provides six pairs of eartips in total. They give you three pairs (S, M, L) of the Vocal tips which are black in color. They also give you three pairs (S, M, L) of some white Balanced tips. All of the tips are of decent quality, but I chose to go a different route and used the KBear 07 tips instead. I do find the 07’s suit me better sonically as well as seal better for my ears.
It’s interesting because Letshuoer labeled the tips as “balanced” and “Vocal” but to be honest they both have much of the same affect. Both sets of tips that Letshuoer provided have a narrower bore, or a semi-wide bore. Smaller in diameter than the KBear 07’s but wider than a tip like the KZ Starlines. Both sets have a firm flange as well. They are nice tips, no doubt. They will become useful at some point for me, but I found the seal to be better with the 07’s.
Carrying Case
Letshuoer provided a nice carrying case for the price. Actually, even adding a case with the packaging is nice. It just so happens that the case they add in with the accessories is halfway decent. It’s a cylinder type hockey puck style case made entirely out of a hard plastic and covered in a thin black rubber coating which feels soft to the touch. The lid screws on and off rather than sliding off which I think is a nice touch. You won’t have any unexpected lid openings with this case. As always, I must add that I really don’t ever use a carrying case but for those who do… this one is a nice addition. I have certainly seen better in the price point but c’mon, even adding a case is a thumbs up at this price.
Cable
I’ve always had a penchant for Letshuoer cables. They’ve always seemed to provide good cables for the price. I love that Letshuoer understands that cables matter. They are important to the consumer. Many of us really dig a nice cable. Now, the provided cable won’t blow your mind, but I do believe that it is one of the better cables in the price point. In fact, it’s basically the same exact cable as in the Letshuoer X-Gizaudio Galileo.
The cable itself is a 2-pin 216-strand 4-core Monocrystalline Copper and Silver-Plated cable that is nicely chunky and ends with a 3.5 single ended jack. Meaning, it isn’t so fat that it becomes a usability issue and isn’t so thin that it looks like a budget chifi cable either. It’s nice. I like the color matching that Letshuoer did with the DZ4 earphones. Both have shades of light tan to off white and all the accent colors match nicely. This cable took a keen eye and an ability to understand the consumer. Of course, for any balanced listening on a balanced source, I did go with the Letshuoer Galileo’s 4.4 balanced cable. Both cables are very close in material and size with subtle aesthetic differences. This is a nice one folks.
Build / Design / Internals / Fit / Drivability
Build
The DZ4 was constructed and crafted in a collaborative effort with HeyGears 3D printing aficionados. Let me just say that I love the look and feel of this set. I wouldn’t call it the most robust and structurally durable of all iems but the feel of the DZ4 is great in hand and on the ears. The Shells are made of a quality plastic material 3D printed by HeyGears. The Faceplates are made of anodized aluminum with a semi-open design. The mesh takes the shape of a “Z” and for all I know this is a legit semi-open back. The nozzles are medium length, not too long and not too short. At the top are the female 2-pin connectors. Overall, it’s a nice build and a unique shape.
Design
The look of the DZ4 is not the usual run of the mill looking iems. The off-white coloring with the red Z on the faceplates is minimalist but also very unique and different. This set looks solid in my opinion. Leave it up to Letshuoer to create something that nobody else has made.Internals
Like I’ve mentioned, the DZ4 is a 3DD + 1 PR (Passive Radiator). Letshuoer decided upon three 6mm titanium domed dynamic driver and one 6mm passive radiator. Each driver is connected to a series of tubes and a two-way crossover. In fact, the drivers are connected directly to the 2-Pin receptacles via a flexible crossover board. The driver setup is also very unique. Truthfully, I don’t think I’ve ever listened to a setup with this arrangement.Passive Radiator?
One thing which caught my attention right away was… How is the passive radiator actually operating? A passive radiator should be in a sealed encasement and tied directly to the Woofer so to allow deeper lows without losing efficiency. Passive radiators have been used for some time. Just not in something this small except for a few sets, that I know of anyways. Now, I’m not claiming to understand it all, there are much smarter people than me to do that. However, there are some in the hobby who have brought up very good points. Namely “Hawaiian Bad Boy” from Bad Guy Good Audio Reviews (from YouTube) through some Facebook posts. He mentioned ways to modify the DZ4 that is worthy of being checked out. Anyways, he along with a few other really influential people in the hobby have mentioned the issues regarding the implementation of the passive radiator in the DZ4. Just thought I’d add that into this review.Fit
The DZ4 fits me very nicely. Now, I did have to use KBear 07’s largest tips to get a perfect seal, but I don’t consider this set a difficult fit. The part of the shell which rests in the ear is very smooth and rounded to sit nicely without irritation. I have no clue if the DZ4 will fit you, the reader, but I can’t imagine too many people having problems. Unless of course you have alien ears, in that case… there’s probably no helping you. I do think that most people will enjoy a great and comfortable fit. Isolation is average in this set, and I did experience some slight sound leakage but nothing out of the norm.Drivability
The Letshuoer DZ4 is rated at 12 ohms with a sensitivity of 104 db’s. I found the DZ4 to be relatively easy to drive to good fidelity. I had no issue using 3.5 single ended on my Ifi Go Blu. Stepping up to balanced 4.4 was even better to my ears. This pairing was decent with the Go Blu’s CS43131 dac chip, but I experienced a quick step up in sound quality when I went with the Moondrop Dawn 4.4 which uses the same chip. That said, the sound is much more mature on the Dawn and more clean, analytical & punchy.Listening with a couple of my daps I found the DZ4 begin to max out in its scalability. For instance, I listened with the iBasso DX240 on medium gain and note definition became crisper and the soundstage gained some width as well as separation. My favorite way of enjoying the DZ4 came by way of the Shanling M6 Ultra. The Ultra uses a AK4493SEQ dac chip with its super resolving velvet sound tech and the DZ4 simply synergized. Listening on medium or low gain was more than enough for this set.
I don’t think you need anything greater than a decently powered dongle dac. I think with something like the Hidizs S9 Pro or the Moondrop Dawn 4.4 you will be more than happy. On most mid-range daps like mine, I would go with low to medium gain. I noticed that the DZ4 steps up to the sound signature of the dap you are listening to which is a nice quality. No source I tried was a bad pairing in my eyes.
Sound Impressions
Note: Prior to critical listening I made sure to burn-in the DZ4 for roughly 100 hours. Due to the fact that the DZ4 employs three Dynamic Drivers, I found it necessary to give this set quite a lot of time doing so. To be honest, I do feel some slight changes occurred for the better after this burn-in period. Also, I performed most of my critical listening using the Shanling M6 Ultra. All listening was done using flac files stored on my devices using UAPP (Most time spent with UAPP), Hiby Player or Poweramp.The Letshuoer DZ4 is a U to W-shaped set with a warm/neutral tonal color while it caters more to the warmth than to its neutrality. The DZ4 has an organic and analog sound that comes across even vintage to some degree. Like an old cassette tape but very clean in its approach. That may sound like it is contrasting attributes but to me it’s not wrong. The fine lines at the outer edges of note definition are somewhat fuzzy in the low-end, tight and resolute in the midrange, and smooth in the treble, but throughout the spectrum the fundamental body of notes is clean and dense. The timbre is natural, organic, untreated, and unprocessed. The sound is musical, it’s precise and energetic. The sound is also pretty holographic and smooth for the price.
Issues
However, there are certainly issues that I’ve noticed with the sound, regardless of whether I like it or not, which should be addressed. I will try my best to do so later in this review. I actually find the sound to be pretty charming in its stock form. Despite that, some modifiers in the hobby have stated through trial and error and great knowledge and understanding that you can drastically improve the sound in certain areas by taking out the passive radiator and gluing over the open hole. I have to add this into this review for full transparency and maybe it’ll help someone who purchased the DZ4 and would like to try out this modification. Now, many people enjoy the stock form of this set, as do I, but I am not everyone else and if there is a way to make it better then… That’s a good thing. Check out this video from BGGA HERE.Back to “stock” sound
Ya know, upon first listen I was moderately struck by how nice these sounded. I enjoy forward vocals. Illuminated and clean vocals is a major part of my library and the DZ4 does this nicely. However, I only initially listened for about 20 minutes and the DZ4 went straight to burn-in. In spite of my initial impressions and after much time of actually critically listening to the DZ4 I have come to the conclusion that I think this set will be slightly polarizing for the community. You’ll either love the DZ4 or you won’t. Plain and simple. I for one am drawn into this set and it’s tuning. It’s inviting to me and sucks me in as I’ve had a very nice time in this critical listening process. There is this odd mixture of neutral and warm, open and intimate, forward and pulled-back that is very interesting.Between the 20’s
First off, the bass is not what one would expect from an iem with a passive radiator, as the bass is somewhat laid back. I found this out when I actually tried out some of my low-end test tracks. There’s some slight robust thump in there, but not what I was expecting from a triple dynamic driver set. The midrange is forward, and I love this quality to the sound, but I know that some will take issue with it. I enjoy the lush and full vocal rendering as to me the DZ4 is a vocal lovers set. The treble is rolled-off and not very sparkly or shimmery to my ears, and the weakest point if the DZ4 in my opinion. I don’t hear any real vibrance up top, but it isn’t as dark as some have said, again my opinion. All in all, the tuning is different. Not bad by any stretch, but I don’t think it’ll fit some hobbyists’ preferences. Does it fit my preference? Yes, I actually like it quite a lot. Of course, it isn’t my favorite, but I like the DZ4. The reason; the DZ4 just sounds good. I will try the modification out after the stock review and hopefully it’ll get even better.
Bass Region
The low-end comes across as full, yet without concrete & tactile definition. The sub-bass has meat to it and adds a sense of physicality yet without the gritty texture that I listen for. The bass as a whole is slightly laid back or toned down. The best way to describe it is that it’s still effective at providing some thump when needed but not ultra hearty and deep, maybe lacking some dynamism. The bass isn’t slow, which is nice, but it simply doesn’t have the texture and “feels” to the degree that I like to hear. Not that the DZ4 is absent from it because there is a decent energy & rumble. I’d call it “almost pillowy” but also pretty tight and moderately punchy. I hesitate to call it pillowy, but no other word truly fits the description for me. I liken it to a low-pitched drone and rumble covered in a slight layer of cotton. You lose a titch of definition and resolution. Still pretty darn nice. Let’s put it this way, the bass region is not the selling point of the DZ4, but I would also argue that the bass region is not bad by any means. There is still some thump there and the mid-bass still has a sense of slam as well as punch and the bass region will replay most genres which prescribe to more low-end activity… pretty well.
Not for bassheads
The DZ4 is absolutely not for bassheads! You’ve been warned. I know, I know… you think, “Triple Dynamic Driver iem, Passive Radiator?!! This set should rattle my eyeballs!” In fact, my JBL speakers have passive radiators… Whoohoo!! Bassheads rejoice!!………. um……… no friends, this is not that set. I’d actually argue that the DZ4 is somewhat bass lite. So bassheads will not love this set and the passive radiator is likely not implemented correctly, just based on sound alone. I haven’t had the chance to delve deep into the driver implementations, but I’ve wondered since I saw the first graphic from the promotional material “how” this passive radiator is actually working when there is a semi-open faceplate. I’m sure it will all come out soon, but beyond that the DZ4 is not for bassheads. Still, pretty good for my library. Basically, I’m not really missing much.Sub-bass
The DZ4 certainly has a sub-bass focused low-end. You will get some good feels down low but not the type that sonorously bellows in the deep with a hard surfaced attack. This is somewhat true when listening to “Paradigm” by The Head and Heart, a track I go to often in my reviews to showcase the haptic vibration of an iem. The DZ4 shows more of a fast rumble and there is bite, but I hear almost a recession to the sound. It’s pushed back a bit, which is not normal. Honestly, the DZ4 is very close but also, it’s so far away. This sub-bass is still robust, it’s still reverberant to a degree but it doesn’t give off that depth and deepness of both sound and feel that I look forward to, with a slight lack of forward energy. That said at least the sub-bass is speedy, it decays rapidly even if the attack isn’t as direct. I could’ve just said that the sub-bass lacks some dynamism, but that’d be too easy. It isn’t the best my friends. It isn’t the worst either.Mid-bass
The mid-bass is mildly held back as well. It still has some good thump, but it too is not the most tactile and reverberant mid-bass I’ve ever heard and again, lacks a sense of dynamism. That said, the mid-bass is still punchy, still has slam and still represents most genres just fine. This is not a boring mid-bass as it’s quicker and more supple and can replay rapid bass notes to a degree. Note definition isn’t the best in the world but also… it isn’t terrible either. I think the problem is the DS4 doesn’t reach the potential that I was looking forward to, which may be skewing my thoughts to a degree, but in the end, it isn’t bad.The mid-bass is also a titch soft for something like a good bass guitar riff. You won’t hear a fully meaty bass guitar that brings that gravelly grungy density to the sound. Just not quite there. Kick drums sound more placid at the surface. They do sound nicely hollow and have the boom I look for, yet they also sound pushed back a bit, or recessed. This can be heard on “Billy Jean” by Weezer (Michael Jackson cover). There isn’t any fuzziness at the note’s edge whatsoever and there is some weight to the sound on this song, but it’s almost like a veil covers the energy from escaping. Please understand that I am being ultra critical here. Most hobbyists may be able to overlook this.
Downsides to the bass region
The worst part of the bass region is that it isn’t anywhere near what I was hoping for. Truthfully, I don’t know what I should have expected. For those who are bassheads, I think you’ll definitely be let down as well. The DZ4 will not have enough emphasis down low, and you’ll be left wanting. I find resolution down low needs some help, but all in all, it’s a warm and speedy low-end that simply lacks that last little bit of full-bodied definition. Perhaps a little more tactility and grunt would’ve helped to round out the low-end. I’d like to hear better separation of sub & mid bass as well. During casual listening it doesn’t bother too much though.All things considered, the bass isn’t what I expected, but also it isn’t horrible either. I don’t hear any mid-bass bleed into the midrange, and I don’t hear any masking from the bass region over any other frequencies. The bass is pretty nimble, slightly out of focus but there’s enough weight down low for most genres. The question would be if it is enough for you, the reader. As for myself I certainly like a bit more of a concrete note definition and more of a tidy but authoritative punch. Also, there are earphones in the price point that render the bass a bit better.
Midrange
The midrange is a more neutral/warm take on things. The mids are generally up front and center and are for the most part… the “center of attention” and one of the selling points of the DZ4. If you are a vocal lover, then the DZ4 will be a fantastic companion to you as I feel this set emphasizes and accentuates the vocal ranges. The midrange sounds organic, smooth, atmospheric & tight, but also dense and weighted. The midrange is smoother but comes across coarse and crisp when needed. I hear nothing that is grating to my ears as far as vocal centric type tracks are concerned. Come to think of it… I hear nothing grating as far as any other type tracks are concerned as well. I hear no sibilance or weird timbre issues and nothing shouty. Truly a great sounding midrange.Instruments have a more natural timbre, and all share an analog quality listening on the DZ4. I hear this “analog version” of a precise & detailed replay that can sound very silvery, bird sweet, and eurythmic to the ear, rather than analytical, dry, and crisp. However, I also find detail retrieval in this area to be very well accomplished. Transients move along quick with decent decay while holding onto the DZ4’s atmospheric approach. There’s also a nice solidity to the body of each note yet the separation of objects on a stage is average.
Lower-midrange
The lower mids present male vocals up front and focused. Males come across slightly smooth, warm & even slightly thin, but they also have substance, and with a ubiquitous presence. Songs like “Grace” by Rag’n’Bone Man shows-off on the DZ4 as his vocals have very nice texture and depth with a slimmer profile. Call it lean muscle mass, it’s svelte but also compact and holds onto the meat of the fundamental tone to his voice. I hope that makes sense. The timbre isn’t weird and there aren’t any strange little artifacts floating around at the note edge. Another song is “Curse of the Blackened Eye” by Orville Peck which also sounds fantastic listening on the DZ4. His lower pitched brawny voice has a natural sounding accentuation against the rest of the mix. To say it another way, I enjoy how well Orville’s voice is distinct and singular next to the instrumentation around him. I could keep going but basically, males sound well drawn out, clean & smooth, and with nice note structure.There were reports of the midrange sounding as though there is a “cup” effect? I don’t hear this. However, I must report that some have said as much. At least on the set I am listening to with the Shanling M6 Ultra, or any source I have for that matter. I heard nothing odd in this regard. There’s no boxy cup effect that I have heard. However, my experience is not everyone else’s.
Upper-Midrange
The upper midrange is another area where the DZ4 earns their salt. In my opinion anyways. I find female vocals to be graceful, effervescent and flat-out very nice on the DZ4. The vocals sit forward, out front, intimate and are highlighted in a non-offensive way. At times it’s nice to hear a little nudge forward to pronounce female voices. The DZ4 has that forward lean but not enough to feel forced or overcompensated in this region. In truth the DZ4 has a nice ear gain. It’s not abrupt and it’s not uneven or shrill. The females on this set sound sweet, luxuriant, lush, and have a nicely organic timbre that comes across realistic to my ears. There’s a hint… thee slightest hint of shimmer. Other than the slight shine from the ear gain, everything else is simply a creamy or milky take on a female or male voice as each and every inflection or intonation of those voices sounds enriched and gratifying.Listening to “How Long Will I love You” by Ellie Goulding is a heartening experience. Ellie sounds so very soothing with every feathery straight line vocal note. She sounds simply golden and mellifluous, and I say these words as exact descriptions. There is a sweet vibration that she taps into with this set. It triggers something deep in my temporal lobe, friends. The DZ4 has a way of accentuating the subtle softness in her voice and giving that softness some texture, body, and most importantly the DZ4 has an ambience of musicality and rhythm in its approach. Every slight modulation of her voice feels feathered and engrossing. Similar tracks will get the same treatment as the DZ4 excels in sheer musicality in this region in my opinion.
Upper-mids cont.
“Skeletons” by Suzannah is another song that takes a softer and more melodic voice and adds in this layered and honeyed tonality that is buttery smooth without a rough edge to be found. Her voice has this southern drawl against a western leaning musical backdrop and the atmosphere is very authentic and is captured nicely. The strings of the guitar are nicely sharp, and the harmonics decay pretty swiftly while Suzannah’s voice glides perfectly in their own lane. There is certainly a slight shimmer that sounds lifted and mood inducing. Another cool thing is that the micro-details do seem to illuminate nicely on this track, or any track for that matter. Also, right out the gate, the macro-dynamics begin to show on the DZ4 listening to this track. The sound is full and big in its auditory expression.Downsides to the Midrange
The downsides are coincidentally the same as its upsides; for some, the vocals will be too far forward and intimate. Not everyone is like me and enjoys such an experience, and I get it. To those people, the DZ4 may not work for them. The midrange could use a more articulate resolution enhancement and cleanliness. That said, the midrange also comes across above average in details despite this, and the minutia within this region is fairly easily heard. There is precision there and it is one of the selling points along with the vocal playback in the midrange. Take note, I said “in the midrange“.
Treble Region
The treble region I would have to say is the biggest downside for most hobbyists concerning the DZ4. I say this because there is an audible roll-off up top which kind of kills any air or sparkle, or any real luster. Is this a huge problem? Well, not completely for me but yes for some. In fact, for many this may be a problem. As for myself, I do wish I could hear a more uplifted treble. Then again, I don’t know what that would’ve done to an already forward vocal in an already forward midrange. All energy and brilliance aren’t a complete no-show as there is some slight gloss up top, but for the most part the treble does come across smoother, cozier, held back and warmer than some would like. I don’t think it’s a complete miss as the sound as a whole comes together nicely though I’m quite positive this will be an area of contention for some of my friends in the hobby.Redeeming qualities
Granted, it isn’t some dire situation, and the ear gain does help to bring uplifted energy to the lower treble up marginally or as much as it can anyways, but the roll-off is noticeable. What I hear is a broad note body that is plump, stout and darkish and without the proper fine-lined articulation. You won’t hear that hard edged and exact profile of treble notes with a sense of brilliance that we typically like to hear. I think of the note edges within the DZ4’s treble like a soft cotton silhouette which lines a textured and full body. It won’t “rate” High in my ratings at the end of this review, but it doesn’t mean it’s a bad treble. There are some redeeming qualities that I do enjoy. The DZ4 is actually quite smooth and relaxing. The treble just needs some definition, some natural contours and some emphasis to lift the whole of the mix. However, when the sound is packaged as a whole, it doesn’t sound bad to me at all.Treble cont…
The DZ4 treble region is speedy enough to catch up to Billy Strings banjo tracks like “Ice Bridges” with a good body, a slight loss of transparency yet a rounded 3D type sound or euphonic type sound. The body of the notes moves along okay, with a firm attack while the decay lags a hair. There is some crispness but it’s seemingly overlayed in a warm veil. I don’t find this a big issue on other tracks that don’t prescribe to speed and precision as it simply isn’t as noticeable. Also, more rhythmic sections of treble come across much better, more melodic, yet still lacking some brilliance and extension. The treble region is warmish/dark, yet still has some roundness and punch in the treble and there is still a strong sense of musicality and tunefulness. Harmonics are a bit attenuated and without that good organic resonance, but the treble is not without decent macro-details. To be honest, I’m already sick of explaining it because I find it difficult to do so. Let me just say, when I package the treble “as a whole, with the rest of the mix”, it sounds nice to me. Certainly, the treble is a “part-to-a-whole” that may not be accentuated nearly enough but is able to walk in good step with the rest of the mix.
Downsides to the treble region
This entire treble section has been a downside. However, to break it down in the simplest of ways; the treble is too warm and too under accentuated. I find this treble to be very safe, and most will yearn for more BITE. Most will want more brilliance, more Shine, and some may want to hear a more defined profile and structure to the notes within the treble region. Also, treble Heads will not fancy the DZ4.
Technicalities
Soundstage
The soundstage on the DZ4 is intimate for the most part. However, not intimate in the way that the soundstage is small or congested. The DZ4 has a very big and immersive listening experience. The best way to describe the soundstage is to simply say that it is “full”. I feel like sound stretches to the edge of my minds soundscape and fills it out in all directions. I hear a more layered type of sound with decently good depth. Nevertheless, the stage also comes across intimate. It isn’t pulled back like a large auditorium where the sound is in front and spread wide. It’s up close but full in the way it fills the stereo image in my mind.The soundstage isn’t a flat plane of sound. I am going to try to explain because it’s worth explaining, there is a three-dimensional aspect to the sound that is tall, wide and even slightly deep as well. I hear a stereoscopic and almost sculpted type of holographic image when listening. The sound wraps around me, yet it’s also drawn close to the ear. If none of this makes sense, then I’m very sorry and I will try to do better in the future. Honestly the stage is very unique and i do enjoy this aspect of the DZ4.
Separation
I find the DZ4 to do an admirable job of separating elements of a stage. I do think it’s an uphill battle to a degree and the tuning makes it tough to accomplish clean separation all the time. Think of an intimate & full stage. Now picture the sound close to the ear, vocals, instruments etc. Try to think of these instruments and voices as having a smoother, tone and timbre that doesn’t have that illuminating brilliance to it. This isn’t exactly the best recipe for separation of elements on a stage. However, I would say the DZ4 is about average. Not the best, but also not a “con”. Obviously in more congested tracks you will find the DZ4 having a harder time in this area.Imaging
Imaging follows a hand in hand walk with separation. Instruments and voices hold their perfect spots on a stage, delineated and discernable, somewhat lucid and distinct. Yet the edge lines are fuzzy (mostly in the bass and treble regions), the stage is intimate, the sound is full and there isn’t always that sense of air between elements. Still, placement on a stage is actually pretty nice on the DZ4 and while separation isn’t perfect, I find the imaging is well accomplished. Again, just like the separation, if a track has complicated & fast paced musical arrangements than the imaging may become a bit blurred, but all in all Letshuoer did pretty well here. Above average I’d say.Details
The DZ4 is an odd cookie. Honestly it doesn’t do bad at all in the detail arena. I find micro-detail retrieval to be well above average. I’ve already pretty much explained the sound as best I could, but I’ll say it again; the sound is analog, natural, smooth, and intimate with a sense of richness. This is great for a musical sound but doesn’t always bode well for micro-details. I say that but the DZ4 detail retrieval is actually very good.
Comparison
Simgot EA500 ($79)
The infamous and fantastic Simgot EA500. The phenom. I wouldn’t be wrong if I called it the… “BUDGET KILLA”! I’m only partially kidding. In all seriousness the Simgot EA500 is a bona-fide stud in the price point and a very tall order for the DZ4 to compare against. Good thing this comparison isn’t about “which is better”. I actually reviewed the EA500 earlier in the year (Simgot EA500 Review) and I must say, I am still loving this set. Without question I regard it as a top 5 under $100. Still, this comparison is meant to hopefully help you understand at least a little bit about what the DZ4 sounds like. This is why I choose something that many folks already may own, or may have heard, or at least seen reviews for. Simgot has been on a crazy tear, like a brushfire they’re sweeping through price points with only ashes and debris in their wake. Okay, I may be going a bit too hard, but you get the sentiment.
EA500
The Simgot EA500 is an all-alloy beauty with a 10mm DLC single Dynamic Driver and a beautiful design. Well balanced across the mix, the EA500 is a warmish/neutral U-shaped earphone with a penchant for energy, cleanliness and an innate ability to replay most any genre very well. This is one area that the DZ4 may not be able to match as the DZ4 has a slightly more particular sound. The EA500 leans a hair more to the neutral side of things but tonal color is close between the two. I think both sets have a lively and energetic sound, both have very nice dynamism, but I feel the EA500 just has a bit more expressive macro-dynamics. However, the DZ4 has the more euphonic and layered sound to me.Bass Region
The DZ4 has a slight bit more rumble in the sub-bass, but it is only by a slight margin. The EA500 has a much denser and more guttural haptic feel though. Neither set are basshead worthy, but the EA500 has a more contoured and clean bass region. I find the EA500 has better slam in the mid bass by a good margin with a very satisfying boom for bass drops. The DZ4 has less definition and is looser in control but probably has a speedier bass region. The DZ4 also has a bit less texture for bass guitar and kick drums. I do like the EA500 a bit more in this area.Midrange
The midrange in both sets is very well done. Both iems do vocals very well but the DZ4 has the edge here. The DZ4 is a bit more forward, smooth, and holographic in the midrange. However, the EA500 has better note weight, better transient behavior and a more taught and precise note decay. The EA500 runs the risk of being slightly closer to a shouty sound, although I don’t necessarily think either set is shouty. I suppose for those sensitive to it you may consider the EA500 grating to the ear. Timbre goes to the EA500 by the smallest of margins. I just feel that the EA500 sounds more authentic to a realistic sound in this region. However, if I was judging soley on the ability to render and playback vocals… I’d have to give the nod to the more colored sounding DZ4. The DZ4 are simply wonderful for vocals, and this takes nothing away from the EA500’s vocal chops. I’d also say that the DZ4 has a hint better detail retrieval in the midrange with better layering and depth to the sound. Small margins people.Treble Region
The Simgot EA500 comes across quite a bit more lustery and shimmery with a more efflorescent and lively treble. That said, the DZ4 has a fuller treble with less chance at coming across peaky. Basically, less offensive. I feel the EA500 has a more detailed treble region, but this is easily debatable. What the EA500 has is more clean treble bite with a crisper leading edge at attack and perceivably tighter decay and better audible extension up top. Basically, the DZ4 is less bright while the EA500 was tuned with more of an emphasis.In the end
I have this natural affinity for the EA500. Something about that set that brings joy to my heart. However, I may be prisoner of the moment here, but I am drawn to the sound of the DZ4 as well. When all is said and done, I just cannot overlook how good the EA500 is. I think the EA500 fits me a bit better, but I absolutely enjoy the sound of the DZ4.
Is it worth the asking price?
This is the big question, is the DZ4 worth the $89 dollars that Letshuoer is asking? Is it a good buy? Are there other iems at or around the price point which would make more sense? To answer this question for you I’d have to ask a question; what is your preferred sound signature? Do you love upfront vocals? Is bass quantity something that you need in your music? Are you the type who wants the treble to have a sense of brilliance and luster? I would ask these questions because they are absolutely necessary to answer the question in the title of this section.Particular tuning…
The DZ4 is very particular in its tuning. Extremely particular. Which also will make it very polarizing. Mark my words… There will be those who won’t be very happy with the sound of this set. They will regard it as if it isn’t worth the price of a budget KZ set. On the filpside, there will be those who celebrate the tuning and absolutely love the sound. We are all very much different and no one person is the gate keeper to what sound is “good” or “right”. I do have a feeling that as reviews begin filtering out that each one will either be “love” or “hate”. That is what the DZ4 is. As for me, I really enjoy this set.Subjective thoughts
“To me” and “for me” I will answer this question. I enjoy the sound of the DZ4, a lot actually. Granted, it has obvious issues. Yet, even with the issues, in my opinion the DZ4 is a good sounding set. The DZ4 is a nicely built set as well, and it’s also a set that is well accessorized for the price point. Even with the driver questions, the passive radiator implementation issue, the lack of resolution in the low-end, lack of cleanliness at note ends, or the lack of treble emphasis… the DZ4 sounds great to me. I can only relay what I hear, and this is the absolute truth. Granted, the DZ4 is not my favorite and I do feel there are a mountain of great iems in the price range.The Why…
The DZ4 is worth the asking price to me. We have a great build, a dope look that is unique and different and a sound that places vocals on a pedestal. Letshuoer added in a nice cable for the price, a nice case, and nice eartips as well. It’s a good package. No doubt about it. Now, if it was me pricing the DZ4 I would ask $79.99 for it. That would be a good price in my opinion. The DZ4 is not an all-rounder type set and doesn’t do well for all genres of music and likely won’t please everyone. However, for the accessories and good sound as a whole… $89 isn’t bad.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Letshuoer DZ4 ratings below, that would be $50 – $100 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $50-$100 US is a broad scope of iems and so seeing a 9 better mean something special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 8.8-Look: 9.4
-Accessories: 9.8
–Overall: 9.3
Sound Rating
-Timbre: 9.0-Bass: 6.0
-Midrange: 9.0
-Treble: 5.5
-Technicalities: 7.5
–Overall: 7.6
Ratings Summary:
Have I ever expressed how little I enjoy ratings? I don’t like anything that doesn’t come with nuance. I’m the same way in life. Nothing is black and white because there is gray everywhere, or “color” if we are being literal. However, I am digressing here. I sit too long on these ratings friends; I dwell on them. In the case of the DZ4 these ratings almost mean nothing, and it’d be better to exclude them altogether. However, I’m a gamer so imma play the game.For instance
For instance, I gave the DZ4 a 7.5 in technicalities. Is this fair? I mean, above average details in the midrange and treble. The bass doesn’t really do so well in this regard but all in all… better than a 7.5 in detail retrieval alone in the $50-$100 range. However, there are other attributes which fall under the “technicalities” label. Separation is average, imaging is slightly above average, but the soundstage is pretty intimate. Now for me, I like this intimate stage, but I have to be a bit more objective when ratings come into play. So, I figure 7.5 is justified against the field that this rating indicates. Do you see why I have a problem with Rating things with such broad strokes when you only really get the full picture when things are broken down. I have an issue with each of the sound ratings in similar ways and could break down each one. So, take it with a grain of salt.Get it right
You have to also think of the amount of crazy good iems which reside between $50 to $100 US. It is a long list of nice sets. Giving the DZ4 a 9.0 in timbre must mean something pretty special. Or a 9.0 in the midrange. However, a lot is lost in that. Nuance my friends. There’s always more to the story. This is partially why my reviews are ridiculously long most of the time. Just to explain myself, lol, and I’m not always that good at doing that (explaining myself). Anyways, I truly don’t ever want to disappoint any of you, I want to get it right so that you get it right. Not everyone is made of money. Lord knows I grew up with nothing and so I understand very well what $89 means to the great majority of people who read this.
Conclusion
To conclude this review, I have to emphatically request that you check out other reviews as this has been one of the more difficult reviews for me to navigate through. Again, mark my words, others WILL have differing opinions. We are not all the same. Some may have better or worse hearing even. We don’t all have the same gear to listen to these earphones with, we all have different likes and dislikes as well as different libraries of music. Most importantly, not all of us reviewers have been down the same audio road. We are all at different parts of our journey, However, I do believe that most of us have only good intentions and want to help the consumer. So, please finish this review and jump onto other reviews to hopefully help you make an informed and educated decision.I want to thank Ivy Gao and the good people of Letshuoer for providing this unique iem to me for a feature at mobileaudiophile.com. I also want to thank you, the reader for taking your time to read the thoughts that I have about the Letshuoer DZ4. Take good care and try to stay as safe as possible. God Bless.
Dunu Kima Classic Review
Dunu Kima Classic
This is my full written review of Dunu’s latest single Dynamic Driver iem, the Dunu Kima Classic. The Kima Classic, or “DKC” as I’ll often refer to it for review purposes, is actually the successor or “twin sibling” to the mildly popular original Kima which I reviewed in 2022 (Kima Review). I quite enjoyed the Kima original and gave it pretty nice praise. It had some minor subjective gripes about its tuning but for the most part was a successful entry into the $100 to $150 price point. The Classic is actually a re-imagined version of the popular Kima, with a sweet looking new paint job, a color matched cable and a more fun and dynamic tuning. Dunu
Dunu has been around for quite some time and started their audio journey producing OEM/ODM produced products for both telecommunications as well as audio companies. They have actually been developing earphones and other audio products since 1994. However, it wasn’t until 2006 that the brand name “Dunu” first made an entry into the scene. They began creating driver materials and diaphragm materials which ultimately led to many Dunu created patents. Ever since then, Dunu has been steadily producing highly competitive audio products that I’m sure most of the readers are very well aware of. Dunu has a way of creating products which scream “premium” in every way and sound the part too.New Kima
Back to the OG Kima, it was a very fine earphone and truthfully still is. In fact, I was surprised that Dunu released this “Classic” version so quickly. The Classic coming hot on the heels of the original with some subtle to… not-so-subtle upgrades. The Classic should be able to stand on its own two feet, or else, perhaps this was simply a quick cash gimmick. Now, I think Dunu has better integrity than that and so I am certainly leaning on the former.This new set is said to have some more low-end emphasis as well as a bump in the upper-mids to treble region making it a true V-shaped iem and built for a more popular type tuning. The Shells have a new paint job with a “coffee gray” look and the cable was upgraded too. One more thing… The price didn’t change at all. With all that said, why don’t we take a good long look at this newest Dunu iem and see if this set has what it takes to form a path of its own and stand against some of the big boys around the $100 price point. The Dunu Kima Classic everyone….
Gear used for testing
–Fiio UTWS5–Ifi Go Blu
–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
The DKC arrived at my home in a decently sized rectangular box which is fitting for what’s included and not wasteful. The outer sleeve of the box simply has a picture of the DKC on the cover as well as specs on the back of the sleeve. Take off the sleeve and you’ll see a simple black box with Dunu on the front. Once you open the box you will be eye to eye with the beautiful DKC sitting pretty in foam cut-outs. Next to the DKC is the usual orange fabric Dunu carrying case that comes with many of their earphones. Inside the case you’ll find three different types of tips, a cleaning rag, nozzle cleaning tool and a 6.35 adapter. Also, under the foam partition which holds the DKC earphones is a box labeled “cable” which obviously has the very nice cable inside. I think Dunu offers quite a lot of good and useful accessories, all made of solid materials for the price. Nice job Dunu.
Eartips
Dunu was nice enough to provide a good selection of tips and all of them are very good quality. Each tip type will add a unique spin and subtle changes to the tuning. They added nine pairs of tips in total, or three sets of three (S, M, L).
To start, Dunu gives you some black tips with a narrow blue bore which I assume is meant to give a lift to the low-end by bringing the upper-mid & treble area down a few db’s. The stem is very firm, and the flanges are firm enough as well for a good seal. I found these tips weren’t to my liking as they added to much warmth to the sound which kind of goes against the Kima sound (in my mind).
Next are the Dunu Candy eartips. They are obviously candy colored white tips with different colored bores. These too have narrow bores yet are a hair longer than the black tips. These can go a little bit deeper into the ear canal. Also firm at the flange and inner stem. These are actually solid tips that are a big benefit to keep on hand. Any iem that you feel needs a boost in stage presence will benefit from these tips. However, I don’t like that the upper mid vocals were tamed too much using these on the DKC.
Dunu S&S
Lastly are my favorite tips in the bunch, the Dunu S&S eartips. For whatever reason the only size which fits my ears are the large size, but I love what these tips can do for the sound. There is a definite openness occurring with a perceivably wider stage and these tips add some punch to the treble region for me. The S&S tips honestly upgrade almost every area of the mix with a nice lift to the midrange which just so happens to be what the DKC could use. The bass tightens to a small degree and the stage opens up with added air to the sound.Carrying case
The carrying case is the exact one given with the original Kima. Coincidentally it also happens to be the same case provided with the likes of the hi-end SA6 model as well as a few others. This case is an all-orange fabric case with a stainless-steel zipper. There is a couple pretty dope touches, like the center of the case has “DUNU” embossed on it. Also, the Zipper itself has Dunu written on it. It’s a very nice addition to the packaging that Dunu could’ve left out and I wouldn’t have blinked an eye. What I like about this case is that it’s relatively narrow and can sit in my front pocket and not look too ridiculous. I don’t usually use cases, but I have always liked Dunu’s. Also, if needed you can fit your earphones and a small dongle dac. Not bad at all.
Cable
The cable that Dunu offers in the packaging is a very nice four strand high-purity, single crystal copper and silver-plated cable. Thankfully this one has a 2-pin connection and terminates with a 3.5 single ended jack. I have to say that this cable is actually quite nice. One of the better cables in the price point in my opinion.
The color matching is perfect, and the construction is beautiful. It’s a very nice and chunky cable, but not too chunky. It’s beefy but with some lean muscle mass. The color is really awesome and pretty hard to explain. It’s a brown cable but more like metallic brown and the sheath which covers and protects it has almost a gloss to it. Truly this cable looks great paired with the DKC. The hardware on the cable is almost all of a brownish/gunmetal colored alloy with a gold plated 3.5 connector. The cable is pliable and not microphonic. Let’s put it this way, I would purchase this cable on its own. The cable is DOPE folks.
Cable swap
Unfortunately, the included cable is still only 3.5 single ended. I listen to a lot of 4.4 or 2.5 balanced sources and thus I need a cable with these terminations. So, I actually went with an even beefier KBear Chord graphene + silver plated mix braid cable. Together these two are absolutely gorgeous and the sound fits so very well. You will notice I have the Chord pictured in many photos as well as the included cable and I took those to show that I listened a lot with both. Really it came down to the source I was using at any given time. There wasn’t really any sonic benefit to swapping cables other than an increase in power supply through a balanced connection. Dunu did a great job on this one!
Build / Design / Internals / Fit / Drivability
Build Quality
One thing is for sure, Dunu knows how to craft a well built and well-designed earphone… no matter the price tag or tier group. Just like the original Kima, the Classic (or “DKC” as I’ll call it for review purposes) is built using high precision melting and casting of high-density metal alloy. I adored the build and shape, the style and the durability of the Dunu Kima and so it’s no wonder that I especially enjoy the DKC’s stylistic build due to the new coffee-gray colorway (I’ll cover that in the next section). I will add that the shape may cause some fit issues, or better said; the shell shaping may cause some fiddling around to get a seal. Something about how they don’t exactly hug the ear perfectly and the DKC also has a shorter nozzle. Rest assured I was always able to get a seal.The DKC has a brass plated nozzle as well as a nice metal grill. You’ll find one larger vent near the rear of the shell cavity underside with what appears to be some filter mesh inside. On the top of the Shells the DKC has a slightly recessed 2-pin female connector. As far as build quality is concerned, you’d be very hard pressed to find a better built iem in its price point. The seams are clean, no glue, nothing sloppy and perfectly sculpted. Dunu did a fine job with the OG and the newer version Kima.
Design / Look
Like I stated earlier, I adore the look of this set. The distinct raised lines that collide on the Shell face (to form a “K”) are so fresh looking and unique. The look is completely masculine and modern. The underbelly on the Shells have very cool looking raised surfaces leading up to the nozzles, obviously built around the Internals that are housed inside. However, the thing I like best is the brand-new paint job. Something I thought I’d never say is “Man that coffee brown looks dope!”. It’s true, the new colorway is gorgeous and Dunu made sure to color match the cable perfectly. Couple the coffee-gray with the brass-colored nozzle and you have yourself a design champ of 2023 under $100…maybe. Great job Dunu.Internals
The new Classic version of the Kima shares the exact same 10mm DLC single Dynamic Driver set-up. The promotional literature of the OG Kima states that this driver boasts better rigidity & damping which reduces harmonic distortions. What houses this new driver is a dual cavity design with a N52 Strong Magnetic Circuit and high tension ultra fine voice coil. Also employed is a microcontroller airflow control technology to maintain airflow pressure in the cavity for better comfort. There is also a small front vent near to the nozzle and a larger back vent as well. The driver has pretty obvious good qualities which aren’t subject to crazy distortions and maintains good control.Fit / Isolation
The DKC fits me fairly nicely when I fiddle for a minute. A small price to pay for a good seal on this latest Dunu single DD. The shape is kind of flat against the ear with a shorter front nozzle. Couple that with the fact that the Dunu S&S eartips are a sort of odd fit themselves and what you have is a fiddling session. No problem though, I expect as much from any iem I put into my ears. I have zero idea how the DKC will fit you, but I do think the DKC has a pretty universal build which should fit most ears. You may not have any of my fit issues at all, and they may fit you like a glove.Isolation is actually quite good so long as you get a good seal. Once a seal is made there is very minimal sound leakage as well as pretty nice attenuation of outside noises. Certainly, these are not meant for stage use but for casual listening so this isn’t the greatest priority for most people purchasing the Dunu Kima Classic.
Drivability / Pairing
As far as drivability, the DKC is easy to drive to good fidelity. The DKC is rated at 32 ohms with a sensitivity of 108 decibels give or take a dB or two. Using a simple IPad 6th generation I was actually able to bring the DKC to a nice volume, but I noticed that separation, detail retrieval and the overall dynamic expression suffers a bit. So yes, you can bring this set to volume nicely with just a simple smartphone, but you will not get the most out of the DKC.Mobile solutions
It was when I began using more powerful sources that I really started to see what the DKC was made of. Even something as mildly powerful as the Fiio UTWS5 was able to really bring upon great mobile sound quality. The embedded AK4332 dac issues a slight warmth and a beefed-up bass region and the DKC followed suit while also coming across pretty clean. Certainly, one of the best true wireless options on the market. Using the IFi Go Blu with its warmer and more lush Cirrus Logic CS43131 dac chip I found the DKC gained a bit more in note weight and vibrance, and macro-dynamics came alive. Especially on 4.4 balanced.Dongle dacs
This part of my scaling up of sources is when the hi-res qualification within the DKC begins to show its face. Using the Hidizs S9 Pro on balanced, the sound brings the DKC right up to its peak in output power thirst. What’s best is how the DKC reacts to the ES9238Q2M dac chip and the tuning of the highly resolving S9 Pro. They sound lovely together. However, as far as dongle dacs are concerned, I found the Moondrop Dawn 4.4 to be superior as the sound has such a nice and clean sound, but also a punchy and dynamic presentation. The Dawn uses the same CS43131 dac as the Go Blu, but the tuning is much different. The DKC really jives with this type of analytical, crisp, punchy and detailed sound and the DKC’s balance throughout the spectrum plays very nice with the balance of the Dawn 4.4.Daps
Actually, I found that the DKC has the sort of tuning and tonality which works pretty well with most any source as far as synergy is concerned. It has that warm/neutral type of sound that just resonates with most any dac. Using one of my favorite daps, the iBasso DX240 (basically a Dawn 4.4 on steroids) which has an ES9038Pro dac chip and a ton of power, the sound is fantastic and the full breadth of the DKC’s ability begins to show forth. I don’t necessarily think it has anything to do with power, but the DKC is scaling to the quality of the source being used. Even better was the Shanling M6 Ultra. Truthfully, I spent almost all of my time critical listening with this set-up. The M6 Ultra uses an AK4493SEQ chip with its velvet technology. The sound is sublime as a pairing with the DKC on medium gain settings with no hiss.So, in the end, all you really need is a decently powered source, nothing crazy folks. The DKC does very well from multiple source tonalities so I’m sure whatever you have should be more than fine. Yes, the DKC naturally scales to the quality of the source and with a hint more power, but I don’t think it is entirely necessary.
Sound Impressions
Note: I just want to preface the sound portion of this review by informing you that I did burn the DKC in for roughly 50 hours before any critical listening was completed. I didn’t notice any benefit to doing this. I also always use flac files which are stored on my devices. For all balanced sources I did swap cables for the KBear Chord 4.4.The Dunu Kima Classic comes across like a warm/neutral and more fun Dunu Kima OG. You’ll notice there’s an extra bass bump, as well as some added emphasis in the upper-mids through the treble which creates a more energetic Kima. A little more V-shaped in sound signature from the original. A little more on the fun side compared to the OG. The Classic is slightly V-shaped to a Harman type sound, yet one thing I’m not hearing is an obvious dip or recess in the midrange that would be considered a large detriment as with most V-shaped sets. The DKC is pretty nicely resolving considering the tuning.
Is there enough to really separate this set from the rest in the price point? Other than maybe it’s build, look, and the fact that the DKC is more of an all-rounder type listen. The Dunu Kima Classic doesn’t specialize in anything really but excels in a few key metrics. However, I really do enjoy them and am perfectly content and happy with them replaying my library of music.
Quick Sound Breakdown
Using my preferred Dunu S&S tips I find the bass region to not be overpowering at all. There is a deep enough rumble to satisfy any track requiring it and enough slam to satiate any fans of nice bass drops. The DKC can do it. However, I do notice some slightly underpowered oomph for a 10 dB bass shelf. Using smaller bore tips does aid in some added low-end extension but there are other issues which arise by doing so. I find the bass to be more than enough with the S&S tips.The midrange comes across clean for a single DD. Just like the OG, the mids have an effervescent quality to them. They aren’t the most forward sounding but the midrange does do well with female vocals which sound shimmery and energetic. Males come across less vibrant and not as hard edged, in that I don’t hear that hard lined attack to a male voice. Males have good note body though. Imaging is excellent in the midrange and instruments sound authentically organic.
The treble has a nice emphasis and uplifts the entire spectrum as the treble balances out the added warmth from down low. Details aren’t lacking while the stage is about average. That’s my condensed sound review. Now let’s break it all down…
Bass Region
Sub-bass
Listening to the Dunu Kima Classic with the Shanling M6 Ultra, using Dunu S&S ear tips; I find the sub-bass rumble to be sonorous, not at all overbearing and optimal against the rest of the mix. Deep enough for some guttural vibration with sufficient sub-bass extension for most any genre. There’s also a nice tactile texture to the sound, as I do get some reverberant haptic energy. Not the deepest dynamic driver sub-bass but also not lacking even in the slightest. The DKC has a solid rumble. Definitely not entirely for bass heads though. On the track “Cross the Globe” by Lil Durk I hear a hearty and meaty bass drop to begin this song that sounds rotund to a gratifying level. No, it won’t rattle loose your eyeballs from the sockets, but it is a very tidy response.Bass singers like Avi Kaplan (of Pentatonix fame) can reach very deep in pitch with a low-toned and full-toned vocal delivery. Many of his tracks play ball in the sub-bass domain. One example is “I’m Only Getting Started” off his latest album [Floating On a Dream]. Listening with the Dunu Classic, they were easily able to cleanly replay Avi’s vocals in a nice manner. “On Melancholy Hill” by the Gorillaz begins a nice bassline right away and the DKC does well to replay the fast-undulating bass with palatable density. Basically, the DKC can dig deep when pushed to do so. It isn’t overtly obnoxious though. Same can be said for the mid-bass next…
Mid-bass
The mid bass seems to fall off at a clean place in the frequency response, in that Dunu decided not to boost this region too much, but instead made a seasoned decision to give the DKC just enough. That being said, the mid-bass does color the lower-mids a bit and certainly more so than the OG Kima. This coloring is not a negative offense in my opinion.This is not the most boosted mid-bass and not exactly basshead worthy though bassheads may enjoy what they hear. It’s more like audiophile fun, tastefully boomy or… mature. Still, the DKC has more oomph than the OG Kima with very nice timbre in this region that comes across as warm and natural sounding. The outline of notes in the mid-bass comes across softer on the surface but not so much that it feels like loss of control or fuzzy. The mid-bass is still tidy enough to feel well developed against the price point.
Good Piece to a whole
Of course, this is a $100 single DD iem… so let’s not get carried away. Still, the DKC does have a mildly taught decay with an average attack speed. Again, not hard edged in its note outline but dense enough to quench my bass drop thirst. For instance, “Rose Colored Lenses” by Miley Cyrus has plenty of boom. Electric bass as well as bass guitar has enough of a presence in the mid-bass to sound gritty and gravelly. Kick drums have a rounded and abounding boom for the most part as well. Not the best, cleanest, fastest, or the most authoritative, but complete enough to regard it as a good piece to a good whole.Kick drums fall just under completely satisfying for me as they feel held back a touch. The initial kick feels only mildly robust, but the resulting harmonics and resonant echo does have some body and depth with an atmospheric decay. It’s almost there, still very pleasant but not quite what my ears listen for. Bass guitar offers good feels, but it doesn’t feel whetted on the surface. Still, the body of a bass guitar is fairly taught and the DKC is able to replay a droning growl when necessary. These may sound like issues, but I can assure you they aren’t. My thoughts are simply subjective, and they are subtle nitpicks. Truthfully, I find the bass to be very well done for most any instrument down low. The DKC is much better then many sets in this region within the price range.
More fun Kima
All things considered; I really dig the low-end of the Dunu Kima Classic. They won’t wow you in straight up bass density and boom, but the bass region isn’t one-noted and the DKC has nice sub-bass extension that reaches pretty low. The sound is clearly emphasized enough for most any genre and is robust enough to indulge the “fun factor” within us. Again, if you are comparing it to the OG Kima, the newer Classic has a lot more rumble and flat-out thump than the OG. This is much more of a party in comparison, and simply put…The Classic is more fun.Downsides to the bass region
If anything, I would like to see a deeper and a more concrete note outline in the sub-bass. Also, the texture is there, but you can tell that the bass region isn’t the main focus of the Kima Classic, but rather a part to a whole. Some folks may even yearn for more bass quantity. There are certainly iems in the price point that reach Bass-Boi levels, which of course the DKC cannot. So those folks may not love it. One more thing which could be taken “either-way” and is more of a subjective point, is that there’s very slight bleed into the midrange from the bass region. I truly don’t find this a detriment, but there is some added warmth in the lower midrange and slightly less clarity than the OG Kima due to this.
Midrange
The midrange experiences some spill-over from the bass region. Notably in the lower-midrange as it is warmer in that area of the mix than it isn’t. I only bring this up in comparison to the original Kima. There would be no reason to even add this to the review if not for the OG because this is a very normal thing to see. Granted, Dunu tuned the Dunu Kima Classic with a nice downslope into the mids. A nice cut-off for a V-shaped set. The sound is still very clean and reasonably resolute. Yet, for those of us who have heard the OG and enjoyed that extra clarity in regions like the lower-mids I just wanted to make the distinction. Lower-Midrange
The lower mids have a hint of warmth (like I’ve stated) and they also appear to be slightly held back, (as with any V-shaped set) but I’ll be honest; they don’t appear to be without a ubiquitous presence. For example, male vocals with a deeper pitch and tone like Cody Jinks in the track “Somewhere Between I Love and I’m Leaving” sit right dead smack in the middle of the rest of the instrumentation listening with the Dunu Kima Classic. Yet, his voice is clearly distinct and nicely weighted, with a smoother inflection to the fundamental tone of his voice and a crisp note outline at the outer edges. Of course, a lot has to do with Cody’s sharply heavy voice. The point is, even though there is a slight recession, it doesn’t come across dull, or flat, or pushed too far back.Male vocals that are higher in the register actually begin to draw a bit more forward. “Cover Me Up” by Jason Isbell is a track that shows this while listening with the DKC. Jason’s exemplary vocal prowess is knife edged and full. I wouldn’t call it a perfect example of good vocals on an under $120 iem but I am saying that the DKC does do male vocals well. Of course, when you have more bass and treble activity they may seem a hair further back in the mix, but all in all males come across just fine.
Upper-Midrange
Females are an entirely different animal. They sound more forward than males. Partially due to the rise in the upper-mids & lower treble area. The DKC actually has a striking resemblance to the Tripowin Olina yet with a slightly more bodied female vocal and also slightly less resolute. Very close though. Elle Goulding‘s beautiful rendition of “How Long Will I Love You” is so sweetly shimmery with a softness that somehow is resounding. I’ve heard better in the price range, but I adore the way the rest of the instrumentation plays around her perfectly up front vocal. There are moments when the bass digs deep on this song and doesn’t even come close to adding a veil as her voice cuts through with a forward and soft vibrance. I think the DKC has a nicely measured lift in this area that gives a slight sense of sparkle.Midrange Instruments
For the most part instruments come across well defined. This is a V-shaped iem and the midrange is smoother than sharp. Resolution is nice for a V-shape, but isn’t perfect, and this can cause a few minor clarity issues as far as instrumentation is concerned. For the most part though, instruments all sound organic and pretty darn clean.Strings don’t have the greatest bite but also, they aren’t wholly horrible either as the secondary harmonics and details are still on point in my opinion. The sound is slightly more colored due to the bass emphasis, which in bass heavy tracks will sometimes cascade over some of the more subtle instruments. Piano on the other hand is full (for the most part) and comes across melodic. Percussion mostly excels on the DKC, as stuff like snares have a very strident and authoritative “Pang” on my test tracks. The fundamental body of a cymbal strike is (most of the time) bodied and highlighted. Again, depending on the track and what is going on around them.
Downsides to the midrange
Like I’ve already stated the mids do have a slight recession and some instrumentation can be very slightly overshadowed on bass or treble heavy tracks. For mid-centric folks, the Dunu Kima Classic will not be enough for you. There are sets which perform vocals better and there are certainly mid-centric iems that focus on the midrange. The DKC is not that. Also, the midrange is only average as far as details are concerned partly due to some reasons I’ve already stated. In complicated tracks the sound blends a hair but nothing too noticeable. If any of this sounds lackluster, please remember that any nitpicks here are “subjective” nitpicks. I can almost guarantee that 85% of hobbyists will not even consider these issues at all.Even with the downsides, the DKC has a pretty rhythmic, musical, and mellifluous midrange with good note weight which brings upon a sense of emotion, or atmosphere. There’s a melodic structure to the sound even with the downsides I’ve just stated. The mids will naturally sound a bit more pushed back. So, when a V-shaped iem can also give you pretty well defined mids with decent resolution then that’s a good thing. I will say that you won’t come across any glare at all, nor will you hear any sibilance or peakiness. Timbre is pretty nice as well and mostly organic and clean. I do have to add that I enjoy the original Kima’s midrange quite a bit more. It is more open and neutral across the midrange, and this helps to sound a bit more spatious.
Treble Region
I find the treble to have a tasteful rise that doesn’t feel forced in any way. This is a good thing. Some iem makers really push this end of the mix and many problems can arise. Instead, I found that Dunu added a good amount of air to the mix which helps the Dunu Kima Classic to have an open sound up top and an overall pleasant tonality across the frequency. Dunu took the Kima Classic right to the brink of where “non-offensive” lives and stopped just short of a fatiguing replay. Dynamic balance, bass/treble
There is a nice balance in the treble region which is proportional to the rise down low. There is enough of a boost up top to keep the overall tonal color in that warm/neutral spot. For example, the Dunu Kima Classic has roughly a 3-5 dB rise above the OG Kima from the presence region through the air region, as well as a small bump in the upper-mids/lower treble. In the same breath, Dunu added anywhere from 3-7 db’s down low. Still the rise in the treble is welcomed and in my opinion is necessary to keep the DKC from sounding too warm for the Kima name. You don’t want a stuffy sound. Not for a “Kima”. The nice thing is that the dynamic balance is good here and the sound is more organic.The treble has a nice bite and decently firm treble punch, especially from the original Kima. I find this set to be quite a bit more energetic up top with more sparkle. In general, the treble has a luster to it without a glassy sound. I liken the treble to a “controlled shimmer”. Cymbal harmonics decay nicely without sounding splashy, piano has some good body to notes. Harmonica, as evidenced in the Blues Traveler track “Hook” sounds edgy and bright, all the while not coming across “too bright” or out of control. However, I also wouldn’t call the DKC a treble Heads delight either.
Can they keep up?
As far as the technical ability and the speed of the treble. I think that Dunu did a nice job here for a single DD. You can’t expect the world out of this set. However, the DKC is actually able to keep up with some fast tracks like Billy Strings “The Fire On My Tongue“. His banjo playing is sounds pretty distinct, and the sound has nice macro-details and even decent micro-details on the DKC. The tuning is one which enables the details up top to shine forth a bit which is good to hear for a V-shaped set. However, I wouldn’t expect a detail monster here, something I will cover later.Some other benefits of the treble are that it’s energetic and lively without killing my ears in any brazen peaks. Dunu tuned the treble “just outside” of safe. Emphasized enough to be vibrant yet held back enough to not sound as though it’s celebrating the shouty tracks in my library. I also don’t hear any real sibilance outside of bad recordings. The timbre is nice and without any metallic sounds. Like I said, I also don’t hear any real splashiness and tizziness up top. I’d say the treble is pretty well controlled. Yeah, treble Heads will yearn for more and may call the treble slightly dull but that’s to be expected.
Downsides to the treble
I find the treble to be quite nice considering what Dunu was going for in this “Classic” version of the Kima. However, there are always issues with everything. Granted, any issues I bring up are simply along the lines of possible subjective gripes from users. I think the only real improvements in my mind is the treble could use a touch more body and possibly some more depth and texture. In truth, the treble is nice for a single DD, V-shaped iem in this price point.
Technicalities
Soundstage
The soundstage will not wow anyone. In contrast I don’t think anyone will be let down by the size of the staging either. All the way around I hear an average stage. As it should be…at the least. However, there is some depth to the sound as well, which does help with adding some layering. Again, I don’t think that the DKC comes across as massive, but the stage is more than appropriate for my music library. The best part is that I don’t hear anything that’s lacking. Nothing ever feels congested or cramped to my ears.Separation
Separation ability greatly depends on the track and type of music you listen to. All things considered I would say that separation isn’t bad at all. Still, if a song features a more complicated or congested musical arrangement than the DKC will likely not partition off every element of the stage perfectly. For a single DD at around $100 I’d say the DKC fares very well though. Again, nothing that will wow anyone. In the same breath I don’t think anyone goes into buying a single DD to be wowed by the separation. Let’s put it this way, you shouldn’t be distracted by the DKC’s inability to establish distinctions between instruments and voices during casual listening, especially in any track that isn’t littered with a garbage heap of congestion. I’d say the DKC is average here.Imaging
With the Dunu Kima Classic in my ears most pieces of the stage (instruments & vocals) do well to occupy noticeably evident spots on that stage. The spatial cues are very well done on this set. Listening on the DKC, I hear carved out delineations of the stage with unmistakable, clear-cut, lucid, segmented and subdivided instruments and their placement on an imaginary stage is very well established. One of the Dunu Kima Classic’s strong suits. Unless of course the track is too complicated. Again, if the music you are listening to has a mishmash of instruments all rapidly played at the same time, then you will likely hear a bit of blending of sounds. This should be expected and is a normal occurrence for what the DKC is.Details
Details on the Dunu Kima Classic are decent and decent is good. However, remember, this is a more fun and musical V-shaped iem. Those attributes (musical, fun) are its main calling cards along with a few others. Of course, this doesn’t mean the DKC is inherently bad at detail retrieval, but it means that it has that much more of an uphill battle at illuminating the fine details. For example, you won’t listen to this set and be drawn into the subtle little intonations within the instrumental harmonics of a live set if the bass is cascading over the spectrum. Also, it doesn’t mean you can’t hear these things, it’s just more difficult. I think the Dunu Kima Classic actually has nice clarity and decent resolution and while the transient response is generally not lightning fast… I do think that the DKC does well for what it is. I’d put the DKC as above average in detail retrieval.Details cont.
The sound is clean, and in comparison, is slightly less resolute than a set like the Olina for instance. However, you also have to contend with the bass. I would say the midrange is lacking some details as it can be overshadowed. On the flip, the midrange doesn’t lack a musical flare. It’s a give and take. In the end I enjoy the tuning of this set. It doesn’t have to be some dry and analytical iem that brings out every last detail because that’s not what the DKC is or what it was tuned for. Also, I wouldn’t want it to be that. The DKC sounds really good. It’s fun enough, melodic, emotional, vibrant, and I can sit back and listen to my music and not be slaughtered with fatigue.
Comparisons
Note: The comparisons in this review are not a duel to the death. I have zero want or need to establish if one thing is better than the other. I use comparisons as a tool to hopefully better explain the iem that I’m reviewing.Letshuoer X-Gizaudio Galileo ($109)
The Galileo is one of those sets that you simply couldn’t get around hearing about. I think for the price, the performance is pretty great. This is an iem that was a collaborative effort between Letshuoer and Timmy Vangtan of Gizaudio. Some may call this a “hype train” peice but I don’t think so. If a set lives up to the joy or “hype” of the people who remark about it, then… I suppose the hype is legit my friends. In this case I do believe that the Galileo is one of the best iems at or around the $100 price point. It comes with a great cable and accessories, it’s absolutely gorgeous and it’s tuned extremely well. The Galileo comes equipped with a hybrid setup; one 10mm liquid silicone DD and a 2389 Sonion Balanced Armature.
Build / Aesthetic
Both iems are built well. The Galileo is made from 3D printed resin while the DKC is made from alloys. Metal shells or resin? I like them both. Still, I think it’s pretty obvious that the DKC is the better built iem. to me the Galileo feels a bit less solid. They look rad though! As far as looks go… I think the Galileo gets the nod as they are stunning, in my opinion. The Galileo has perfectly contrasting colors with predominantly blue hues with some browns, orange, whites and turquoise colors. The DKC with the tough looking coffee brown is equally nice to look at. Both sets are built at least moderately well but the DKC feels more durable. Both iems look sweet, both come with great cables, and both come with good accessories.Sound differences
The DKC and Galileo are both leaning neutral in tonality, with the Galileo leaning slightly further that way then the DKC. The Galileo comes across slightly cleaner to my ears while the DKC is a more fun and dynamic sound with a more V-shaped signature. Both are musical at heart, and both perform very well in the same price point. I would probably refer to both sets as smooth and even safe in tuning while the DKC is a little bit more energetic, and the Galileo is a little more laid back. The biggest difference in my opinion between these two is that the macro-dynamics of the DKC are more abundant. The sound is more expressive. The Galileo is fantastic but being “dynamically expressive” is not one of its core strengths. I find the Galileo to be softly melodic.Bass Region
No doubt the DKC is boosted a bit more in the low-end with a plumper and more decisive slam. The Galileo on the other hand is almost bass lite to a degree. This doesn’t mean that the Galileo lacks down low as it conforms to the tuning very well and fits with the mix nicely, but compared to the DKC it comes across a bit bass lite. The DKC has the denser and harder edged note outline yet is also a hint slower in transient attack and decay. Obviously the DKC suits more low-end heavy genres much better.Midrange
The Galileo has the more forward lower mids yet sounds slightly leaner in comparison. I wouldn’t call the sound thin though. The DKC gathers some more warmth from the low-end effectively giving a fuller sound. However, the Galileo comes across cleaner and more resolute. For female vocals and the upper midrange, the DKC sounds more forward by a touch. The Galileo has a smoother presentation in this range whereas the DKC offers a bit more in the way of shimmer and liveliness due to the boost in pinna gain. The Galileo is generally set closer to the ear with a less pronounced low-end which does well to draw out some of the finer details in the midrange. As far as vocals are concerned, I like the Galileo better. Vocals on the Galileo come across smoother and more up front with nice presence in the mix.Treble Region
The DKC has more of a boost in the treble region and you can hear it. The Galileo is actually a bit duller and more laid back with a tamed treble experience in comparison. Don’t get me wrong it isn’t a badly tuned treble, but it is safer. The DKC on the other hand has more liveliness, pep, and better body with more of a treble punch. The Dunu Kima Classic also has better extension into the highest of highs making it easier to discern information past 10k. I can’t say one treble is better than the other as both sets simply have a different take on this area of the mix. Both sets offer a nice rendition of how they went about tuning this region.Technicalities
Technically the DKC has better detail retrieval in the upper portions of the mix whereas the Galileo draws out the finer things much easier in the midrange. I found the DKC to have a fuller stage. The Galileo is flatter in comparison but neither set are enormous in stage size. The Galileo separates instruments and voices a bit better from what I can hear, yet both sets create a nicely imagined stage where all elements of the stage are where they should be. Maybe the DKC has an edge in imaging but that is easily up for debate.In the end
I love both iems here and couldn’t choose which I like better. I like them each for different reasons too. The Galileo has this beautifully neutral timbre with such a clean replay and is completely non-offensive. Vocals sound great on this set. The DKC is more vivacious, organic, fun and expressive. In the end this is a preference battle. I will add that these two are more alike than they aren’t.
Tripowin Olina OG (Mesh Mod) ($99)
The ever-famous Tripowin Olina. I shouldn’t need to do this little explanation of the Olina but for the sake of the review… I suppose I must. The Olina is the lovechild of none other than the Hawaiian Bad Boy himself of “Bad Guy Good Audio Reviews” (of YouTube) in a collaboration with the audio company Tripowin. The Olina was touted as being from the lineage of the Tanchjim Oxygen, in that it uses roughly the same driver (10mm CNT) and measures very close to the Oxygen in its frequency response. It’s a Harman tuned set that’s clean, resolute and punchy with a balanced neutral take on what $99 can buy you. For all intents and purposes… I… myself… rank the Olina in the top three under $100. I don’t see it going anywhere anytime soon.
Build / Aesthetic
The build quality of the DKC is a bit better than the Olina though that is very much up for debate. They are both well-built and both look great. I am not partial to either set here. The cable that comes with the DKC is much better as well as the other accessories. The Olina is a bit harder to drive to good fidelity. Well, scratch that, actually the Olina can simply keep taking power and it seems that it just keeps upgrading, and it’s a chameleon to any source as well. Both sets can sound nice on just about any device. Both sets fit me fine, but the Olina does have the edge here.Sound Differences
The Olina takes a more neutral approach whereas the DKC is a bit warmer due to the bass presence. So, take that into account. The Olina has better resolution and is more balanced across the mix while the DKC is clearly more fun and dynamic. Details come across better on the Olina and the Olina has a perceivably tighter and speedier transient response. I could simply say that all technicalities are better on the Olina and that would cover it. Does this make the Olina better? Absolutely not. That is a very subjective question as the DKC has its own rewarding qualities that Olina struggles with. Let’s get into it.Bass Region
Right away the DKC has a more pronounced low-end with a much more dense and energetic bass region. The DKC sports a more fun bass. The Olina on the other hand is less emphasized but it also has the better detailed, tighter, quicker and punchier bass. The leading edge of an Olina bass drop has a more concrete surface texture. The DKC has a slightly softer note outline but better raw tactile mass and meat. Olina isn’t nearly as boomy. This is one quality that the Olina lacked for many folks. Hence all the mods. We have the nozzle mesh mod and the front vent mod etc. Even with the “Tanchjim Tanya Filter Mesh” over the front nozzle, the Olina still doesn’t reach the fun factor and straight up slam and authority of the DKC bass. This is a preferential debate here. Do you enjoy quick, punchy & detailed, or more bass emphasized, dense, & fun.Midrange
The Olina has a leaner midrange profile, again with a more detailed, upfront and forward sound. Perhaps the Olina can come across peaky in the upper midrange as well. The DKC is a more forgiving listen with a smoother approach and slightly more attenuated than the Olina or recessed. The DKC has a weightier sound across the midrange and a more musical sound all together due to the low-end, but this is not some enormous difference. Not to say the Olina isn’t musical either. In truth I do prefer the midrange of the Olina as it is very well resolving and so clean. Again, these two are extremely similar, yet the DKC simply has an added emphasis down low which affects the midrange. The Olina is more transparent, but the DKC is more emotionally melodic and atmospheric.Treble Region
The DKC and the Olina share many similarities in the treble region. Both sets offer an above average detail performance with good clarity and bite. I’d say the Olina has a touch more bite, however. The DKC sounds a hint more smoothed over. However, the Olina does sound as though it has the greater treble emphasis of the two. Likely due to the bass emphasis on the DKC. The Olina sounds a bit snappier. Then again, the DKC has the more non-offensive treble which makes it much easier for long listening. The Olina has a bit more punch, but the DKC has the smoother treble. Both have a nice emphasis and both treble regions positively affect the entire mix. Technicalities
This simply goes to the Olina. Across the board the Olina has an edge over the DKC. However, what the Olina lacks in contrast is the musicality of the DKC. Not to say the Olina isn’t musical either. Again, there is a give and take to anything in audio. Both sets do the technical stuff well, but the Olina is cleaner, faster, better balanced and more polished in this regard. The Olina has a much more holographic and realistic stage with better separation of elements, imaging and has better resolution across the board.In the end
I can say that these two complement each other very well. In some ways they are alike and other ways they are worlds apart. Like any comparison this comes down to preference and between the two of these sets this is no different. Both are very well tuned in their own ways; both are built well, and both look very slick. Still, the Olina will always have a special place in my rotation, and I simply feel it is the better iem while costing $10 less. However, I am not everyone else.
Is it worth the asking price?
The Dunu Kima Classic is a master class of… nothing. Yet, the Dunu Kima Classic does almost everything pretty well. The biggest issue the Dunu Kima Classic faces is the competition in its price point. If it were my decision to price the DKC I would probably set it around $89. That would be a fair price. However, at $109 it is still one of the better single DD iem’s at that price. I suppose the accessories alone account for a nice chunk of the asking price. However, with all that said, I do think the DKC is worth the asking price. Especially if you are after this type of tuning. At which point, it’s a no brainer. The best way for me to conclude if the DKC is worth the asking price…because I bought them and really like them.The Why…
The Dunu Kima Classic is built like a tank with its all-alloy build. The look and aesthetic is very well designed and there are no other iems that look quite like this set (other than the OG Kima). I love the coffee gray colorway! So freaking dope. I’ve already said all of this, but the sound comes across as a nicely done “slight” V-shape with a stirring musicality, an ardent and subtly emphatic auditory expression which carries nice macro-dynamics and a nicely detailed treble region too. Timbre is more organic, and the sound is mostly non-offensive throughout. It’s a good listen my friends. I don’t think many would look at this purchase and wish they wouldn’t have made it.Can’t win ’em all over
The DKC won’t be for everyone though as many hobbyists enjoy an even more neutral sound. On the flipside many also enjoy a darker and smoother sound. You can’t win ’em all. Still, the Dunu Kima Classic presents itself very well and for those who just want something which will last, looks fly and plays music really well… in those cases maybe the Dunu Kima Classic will suit them.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Dunu Kima Classic ratings below, that would be $75-$125 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $75-$125 US is a broad scope of iems and so seeing a 9 better mean something special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.8-Design: 9.4
-Accessories: 9.8
–Overall: 9.6
Sound Rating
-Timbre: 9.4-Bass: 8.8
-Midrange: 8.2
-Treble: 8.3
-Technicalities: 8.0
Overall: 8.5
Ratings Summary:
Not bad for a set in this loaded price segment. You have to consider every iem within the ranges of $75 and $125. I thought about this one a lot. Sifted through every set I’ve heard within these parameters. This is a very large pool of iems… huge! Also, there are a lot of iems within this pool that specialize in one thing yet not so great in the next. Also, the larger the pool of iems, the smaller the number has a chance of being. So, an 8.2 in the midrange is actually quite good if 5 is average. I would love to explain each Rating and show my notes, but this review is already way too long.
Conclusion
To conclude my review of the Dunu Kima Classic I simply want to make sure that anyone reading this review will also check out other reviews. It is true that I will tell you exactly my thoughts every time you read my reviews. Despite that, I am only one man with my own particular taste and preferences. Others may also have different gear, hearing ability, musical libraries and not everyone has been down the same audio path. Please click other links, read other perspectives, listen to other perspectives, or watch other perspectives. I want you to get it right my friends. These reviews are for you and the joy I get from helping if I can. Also, I love explaining what I hear from some of these products. Thank you for reading and please take good care, try to stay as safe as possible and God Bless.
Ceeluh7
Sorry bro.
HIDIZS MS3 REVIEW
Hidizs MS3 ($169)
Intro
Today I am presenting to you my full written review of the Hidizs MS3. The MS3 is Hidizs brand new hybrid (1DD/2BA) iem which launches under the $200 price point at around $169. I have only had good experiences with Hidizs products. I was recently part of the infamous “Public Review” of the Hidizs MS5 “Dark Angel” which just so happens to be Hidizs flagship iem and one that I was pretty smitten with (MS5 Review HERE) myself. The MS5 has a unique tuning which didn’t follow the cookie cutter approach that most earphones seem to be created with. Despite my affinity for the MS5, it certainly wasn’t a love affair across the board. Something which should be expected from a more particular tuning and considering at the price it is set at.I’ve also reviewed one of Hidizs’ budget sets, the Hidizs MM2, which I was also quite happy with (MM2 Review HERE) as it is another very unique design that is wholly dynamic and fun. The MM2 also has a prototypical type of tuning filter system which works wonderfully. I actually consider the MM2 one of the better iems under $75. Hidizs has a penchant for an “out of the ordinary” approach, and by all accounts this is a company that doesn’t launch a product until it is actually complete and ready to be shoved into the audioverse. Hidizs takes some risks, they take some chances. I can respect this, and I love that nothing seems to be designed in the “assembly line” mindset that most iem makers seem to cling to. Hidizs obviously tries to be “set-apart” and distinct in their approach at creating audio products.
Hidizs
The audio company Hidizs was actually founded in 2009 and have been engrained within the audio community going on 14 years. Which, if you have been paying attention to the scene…this is not the norm. Obviously, they’re doing something right. Beginning roughly around 2012, the R&D Team within Hidizs took three long years of extensive research into the global Hi-Fi market with a team of audio professionals, R&D specialists and personalities to finally launch their first digital audio player (DAP) the Hidizs AP100 in October of 2014. This was a smashing success.Just three years later they released their first Android music player the Hidizs AP200 on Kickstarter which raised quite a lot of funds at the time. Since then, there has been no stopping Hidizs as they have successfully ventured into the iem world with many releases that proved successful. Of course, Hidizs has further dialed in their small Daps and are at the forefront of the market in that regard. Also, they’ve created some extremely successful dongle dacs in the Hidizs S8, Hidizs S9, and Hidizs S9 Pro. Hidizs always incorporates a premium feeling and build into every product they create, and this latest iem, the Hidizs MS3 is no exception.
Thank you
I want to thank Bella and Hidizs for providing the Hidizs MS3 in exchange for a full written review as well as a feature at mobileaudiophile.com. It has been my pleasure to review the MS3 and get the opportunity to spend quality time with it. As you read on, I will go into the build quality, design, internals, drivability and sound quality as well as a couple comparisons. The two real questions I had going into this little venture was…”How does the MS3 stack up to the MS5, and how does the MS3 stack up to the competition in its price point?” I promise to do my absolute best to try to figure these questions out. The Hidizs MS3 everyone…
Left to right: Qudelix 5k / Shanling M6 Ultra / Hidizs S9 Pro / iBasso DX240 / Ifi Go Blu
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
-Later Comparisons: Hidizs MS5 / Aful Performer 5
Full review HERE
Packaging / Accessories
Unboxing
I have to hand it to Hidizs, they have truly dialed into what us “hobbyists” enjoy with an unboxing experience. Especially considering the price tag of $169. First off, the box isn’t huge. It’s a smaller cube of a box with a graphic of the MS3 earphone on the cover as well as some specs on the back. Nothing wasted here as Hidizs managed to create a classy looking unboxing with minimal waste. Also, the box is not sealed like “Fort Knox” as some iem boxes come in. Inside of the box you’ll notice there are different tier levels.Upon opening the box, you will see the bold looking MS3 earphones in all their tough looking glory as they’re sit pretty inside of some cardboard covered foam cut-outs. Lift off that layer and you’ll find the tray of eartips and tuning nozzles. Under that layer is a thin box which contains the carrying pouch and inside that carrying pouch is the beautiful cable. There is also a nozzle cleaning tool and Velcro cable wrap. The only omission that Hidizs left out is the carrying “case”. I would have liked to see that but everything else is fantastic. This is a nice unboxing; I do like the layered approach with the smaller footprint, and I like that everything is so neatly arranged. You find more goodies as you peel away the layers.
Ear tips
Hidizs includes a bountiful nine pairs of ear tips in total. They provide three pairs (S, M, L) of white “Balanced” tips which have a semi-wide bore and semi-firm flange. Three pairs (S, M, L) of white “Vocal” tips that have a shallow fit with a wide bore and are actually quite nice. The last set of tips are the “Bass” tips which are dark gray and have a firm flange and a narrow bore. Each set of tips actually does what their names imply, which may be a first.
All the included tips are of good quality and each set does help to tune the MS3 to your liking. However, for sealing purposes I did end up using KBear 07 ear tips which fit me like a glove. I had no real issues with the included tips, but I did have to fiddle a little bit to get a perfect seal. I think the KBear 07’s hit a sweet spot with their semi-wide bore and ultra firm flange and stem and the MS3 seems to react very well to them. A couple other suggestions for 3rd party ear tips that I found to be very nice paired with the MS3 are the Moondrop Spring Tips, the Dunu S&S Tips, the Tenmak Whirlwind tips and Symbio hybrid foam and silicone tips. For me personally I choose the KBear 07 tips in the end.
Carrying Pouch
One thing I would’ve liked to have seen is a carrying “case” but Hidizs did provide a Pouch instead. Honestly the pouch that Hidizs gives in the packaging is pretty slick. It’s an all-black, all-leather pouch with enough room for the earphones and has a metal pinch top to close the pouch tight. I never really utilize any of the carrying cases that I’ve received with any earphones, but I would much sooner take a pouch with me when out and about. Pouches are better anyways, they fit in your pocket nicely and you can still protect your earphones. Saying that, it’s still somehow nice to see a solid case. Despite this, I’d much sooner like it if Hidizs (or any company) just puts the extra money into the earphones. Still, all things considered…it’s a nice pouch.
Cable
I love a good cable! In fact, I get just as jacked up and thrilled at receiving a good upgrade cable in the mail as I do a set of earphones. Well lucky for me, Hidizs just so happened to include one of the best cables in the price point, if not thee best. The included cable is a beefy, beautiful, metallic brown and it’s a thicky-thicky my friends. The cable measures in at 6mm in width based on Hidizs promotional material (I think that measurement is a bit conservative). In my opinion the included cable exceeds the type of cables that we usually see included with earphones under $200. Heck, I’d probably say $300 or more. I like this new trend Hidizs as the MS5 cable is fantastic as well.
Hidizs seems to be quite proud of the cable that they’ve offered with the MS3, and I don’t blame them one bit. The packaged cable comes in either 2.5, 4.4, or 3.5 terminations depending on what one chooses at purchase. The cable I chose was the 4.4 balanced and I love the way it pairs aesthetically with the MS3. I don’t think Hidizs could’ve picked a more suitable partner. The cable itself is a 2-pin connection with the stylish and has the ergonomical “Shark-Fin” 2-Pin plugs which is unique. It’s also very easy to distinguish left to right but most importantly the included cable looks flat-out sweet! Constructed with high-purity oxygen-free-copper, using 192 wires with a four-strand mixed braiding. I actually like this type of braiding rather than the tighter braided and thicker MS5 cable.
Synergy
The best part about this particular cable is how it matches sonically to the MS3 and was made specifically for it. Due to the driver configuration of two Knowles Balanced Armature Drivers (SWFK-31736) and the dual-cavity Dynamic Driver with the dual-magnetic structure and the combined impedance value, this particular cable actually has a lower impedance and is a high efficiency cable. Supposedly this cable is made to pair to the MS3, Hidizs actually states it like this…The Brown coloring is a nice combo with the MS3 and fits the overall aesthetic perfectly in my opinion. You won’t get any microphonic sounds either, from rubbing the cable on your clothes and the cable isn’t so big and hefty that it weighs down on me. All in all, great cable and a nice addition for the price. Kind of unexpected actually.
Build / Design / Internals / Fit / Drivability
Build Quality
Just hold the MS3 in your hand and it’ll tell you everything you are wanting to know about the build quality. Just like the Hidizs MS5, Hidizs put the same craftsmanship and premium materials into the creation of the MS3. Made of aviation grade aluminum, the actual structure of the MS3 is very smooth & solid in hand. Hidizs also added an anodized coating and finish to the outside of the MS3 for better cleanliness over time. Hidizs uses CNC engraving to etch out the actual shells as well as the “Black Fire” Faceplate. Speaking of the Faceplate, it has a raised surface which was meant to mimic flames and I’d say that Hidizs succeeded in the vision. From the back of the housing to the nozzle tips the MS3 is made of premium materials and is crafted with obvious precision.
Design
As far as design and aesthetic is concerned the MS3 has a pretty radical look. Again, Hidizs came up with a design language that is as masculine and tough as one could imagine. The faceplates mimic black flames for crying out loud! Again, Hidizs used CNC engraving to carve out the flames and truthfully, they nailed it. One of the cooler looking sets anywhere near the price point.The colorway is black on gold with gold trim surrounding the black faceplates and subtle accents of either rose gold, red or silver used for the tuning nozzles. To be honest the look isn’t very complicated and is actually quite plain, yet in that plain look it is anything but utilitarian and bland. To be frank… The MS3 looks badass! It’s a class act, it’s a minimalist design, it isn’t flashy or steampunk or colorful or crazy. It’s simply cool. I actually find the look to be very reminiscent of some earlier Fiio flagship iems…just better.
Tuning nozzles
Once again Hidizs chose tuning nozzles to dial in the sound to your unique preferences. Tuning nozzles are simply male threaded nozzles which screw onto the female nozzle piece of an earphone. With these particular nozzles we do see alterations to a core tuning of the MS3 which is always a nice addition. I mean, they actually work! In essence, tuning nozzles are simply “sound tweaks” and in the case of the MS3’s tuning nozzles I do like how Hidizs made sure to have a significant enough impact to warrant having them in the first place. Hidizs labels the nozzles as “Balanced (Rose Gold), Bass (Charm Red), & Treble (Quiet Silver)”. Obviously, each nozzle reacts to their respective name they were given, and they do so better than most.
Balanced
I won’t go into crazy detail on each tuning nozzle (this review will already be long), but I will assure you that each one has a distinct difference to it. For me I enjoy the balanced nozzle the most as I find it gives me the most balanced sound (who woulda’ thunk it) out of the three. The bass nozzle is quite nice but it’s a little too warm against the other two for me. You may love the sound. Next, I find the treble nozzle to have a slight bit too much treble activity, but the timbre and details are actually very good. Again, you may love the treble nozzle. For me it’s the balanced nozzle as it’s a happy medium with sweet tonality and details and an explosive sound. I’m curious what some of you like the most. Leave a comment about what works best for your listening.Quiet Silver Nozzle:
The silver nozzle is a bit more on the bright side with the least impressive bass response of all the nozzles. However, the low-end still has adequate impact and a nice concrete edge to it using the silver nozzle. With this nozzle the sound has the most amount of air and openness. I did find sibilance to occur slightly more as well. The plus is that micro-details show off the best using this nozzle and treble punch and crispness is in the most abundance with the silver nozzle. Note weight slightly thins out and the sound isn’t as whetted, but I do enjoy the silver nozzle and I’m sure many will pick this one.Rose Gold Nozzle:
My favorite nozzle of the three, the balanced nozzle sits right between the red and silver nozzles and is exactly as Hidizs claims it will sound. I find this nozzle to have a perfect mix of warm and bright, low-end emphasis and top end emphasis. I find this nozzle to have adequate air up top with a nice and tight low end and a nicely smooth and rich midrange. Truthfully this nozzle isn’t much different than the silver nozzle, but it does have a slight bit less upper-mid / lower treble rise.Charm Red Nozzle:
The red nozzle which is aptly named the “Bass” nozzle does exactly what the name implies. The bass gets a boost however it also loses some sharpness, and the punch is very slightly softened, yet the impact and density are greater. The upper midrange and treble also gets tamped & damped down. The midrange gets pulled back slightly as a whole as well. The entire spectrum gains a warm cast over it all while never coming across veiled. Detail retrieval slightly suffers, and the sound has less separation. Still, this is a great thing for those who prefer a warmer, smoother, non-fatiguing, and easy listen without a chance at sibilance or anything peaky. I foresee many hobbyists choosing this nozzle.The only downside to these tuning nozzles (in my opinion) is the size. These nozzles are rather short, and this may pose a couple issues. For one, the size makes it more difficult to actually screw on & off. Especially if you have fat fingers. It may take a couple times playing around with them to get the threads lines up perfectly. Also, don’t try forcing them on as anyone who has spent any time around threaded fittings can tell you…it’s easy to screw up the fine threads. Second, it is really easy to drop these nozzles as you are fiddling with them trying to mate the opposing threads, and just as easy to lose them. So, be patient and swap them out over a large surface that is easy to find if you drop them. Lastly, it would have been nice to have one of those fancy nozzle filter holders.
Hidizs Graph of each nozzle variation
Internals
Hidizs decided to use a Hidizs developed 10.2 mm Dynamic Driver with a Dual-magnetic circuit and a Dual Cavity structure. The Diaphragm is actually a Bio-Nanofiber Composite material which is promised to have a higher magnetic induction than most dynamic drivers. Hidizs states that this Driver has a better shot of having quicker and tighter transients due to the material and the higher magnetic induction, which makes sense in theory. I will corroborate this theory with actual experiential knowledge, this driver is obviously a fantastic unit. The dual-magnetic circuits also help to make the actual usage of the driver more stable. Hidizs also states that this driver is especially well able to accurately replay the sound and tone of a human voice. From what I understand the Dynamic Driver takes on the low-end as well as the midrange leaving the highs to the BA’s.
Balanced Armatures
Hidizs went an especially cool route in the upper regions using two Knowles Composite Balanced Armature Drivers SWFK-31736 to take on the treble and upper treble frequencies. Knowles is obviously a very well-known brand who’ve created Balanced Armature Drivers for years, but they must be used in a way that coherency is not an issue. Something we often see in hybrid unit iems. Thankfully Hidizs made sure to tune the MS3 in a way that coherency is not an issue.Drivability
As far as driving the MS3 to proper volume and fidelity I can accurately report that the MS3 is a very easy set to drive. With an 18-ohm impedance and a sensitivity of 112 db’s I find the MS3 to get loud quickly with most any source. This is fantastic. You don’t need some special high-powered amp to push this set to good fidelity.Mobile Listening
Listening on the IFi Go Blu Bluetooth dac amp and it’s CS43131 dac chip I was immediately impressed with how well the MS3 takes to this unit. I was walking down the sidewalk of my town listening to Biggie Smalls “Juicy” and I promise the MS3 just took to the Go Blu like a “hand to a glove”. This was the first source I used the MS3 with and I would soon find that the MS3 would go well with just about everything I own. I wouldn’t call it a chameleon but the MS3 is very well adept to simply sound good with every source I have at my disposal. This cannot be understated and is pretty cool and a good thing to see. Even the much more expensive MS5 was very particular with the source and wanted and desired a lot of power. Not the MS3.Dongle Dacs
Moving onto my dongle dacs, I was so impressed with the Hidizs own “S9 Pro” together with the MS3 that it was difficult to use another source. This is no joke. Of course, I could not use the included 4.4 cable with the S9 Pro and had to go with one of my good 2.5 balanced cables but, I’m a reviewer so thankfully I have many cables lying around.
The S9 Pro with its Sabre ES9238Q2M dac chip reacts nicely giving the MS3 a more strident and tidy approach to my music. The S9 Pro has an awesome resolving ability and while it’s a year or so old at this point it still sits pretty at the top of the dongle dac food chain. I don’t know if it’s because they come from the same family, but I’ve had a hard time connecting the MS3 to any other source… if I’m being completely honest. It’s one of those moments where synergy just seems perfect.
More dongle dacs
The same can be said when I used the Moondrop Dawn 4.4 using a Cirrus Logic CS43131 dac chip (same as the IFi Go Blu). The Dawn is tuned more analytical yet has such an organic, wholesome, punchy and crisp sound and the MS3 reciprocated by jiving nicely with it. Both dongles I used either 3.5 single ended or balanced (mostly balanced) and either way there was way more than enough power for the MS3. I am partial to the S9 Pro between the two, but I enjoy both quite a bit.Daps
Stepping up to my iBasso DX240 with the Amp8 MK2 installed and incorporates a beast of a dac chip in the ES9038 Pro flagship. The bass tightened up from an already tight approach with a more physical sound, the stage opened a hair and details shined through effortlessly. Speaking of effortless, using my favorite method of with the Shanling M6 Ultra I cannot say enough how nicely the MS3 married to this dap. The M6 Ultra also uses an absolute beast of a dac chip in the AK4493SEQ. The mixture of more analog, organic, warmish and resolving M6 Ultra with the Hidizs MS3 just pairs so well. I find using the MS3 on medium gain is more than enough to bring out the best in this set.Easy to drive, easy to pair
I don’t think you need anything more than a decently powered dongle dac. You could probably get away with simply using a smartphone. Ya know, I’m not a big believer in the auditory scaling ability of iems with power, in that, the extra power gives a set any extra resolving ability or timbre changes etc. I much more believe that some sets simply need extra driving power and thus they sound better. However, I absolutely believe that some sets scale to the source sound. The MS3 is a perfect example of this. Subtle changes in tonality of dac chips do make a big difference and should always be considered when purchasing a set of earphones.This is why I try to always add all my different sources with different tonalities. Fortunately, the MS3 is awesome with every source I have, even some I have’t named here like the Shanling UA2, Fiio KA3, Fiio UTWS5, Fiio Q1 MK2 among others. So, rest assured you should be okay with what you got. The MS3 is easy to drive and does well with most pairings. Obviously, some are better than others, but you should be happy with what you have.
Sound Impressions
Note: Just a few things that must be stated before reading anything past this point. First, the MS3 in my opinion needs at least 50 hours of burn-in (I gave them about 100). Next, all of my critical listening was done using the balanced nozzle. I use all flac files or better which are stored on my devices and usually use Uapp, though at times I use Hiby player, Shanling Music or Poweramp depending on my source. Pint Sized Sound Impressions
If I were to describe the sound of the Hidizs MS3 in one word, that word would be “full”. Of course, one word is a horrible way to describe anything with nuance, and this hobby is all about nuance. I could also use saturated, deft, clean, detailed, dynamic, tidy… The list could go on and on. I can say with complete confidence that the Hidizs MS3 does everything quite nice. Perhaps I could accurately state that the MS3 is ‘very good at much’ but a ‘master of none’ type situation.Anyways, the sound is full of bodacious macro-dynamics that jump out at you and encompass the psycho-acoustic image in my mind. Multiple layers, holographic and vibrant. The sound is completely dynamic, dynamically balanced, musical, detailed per the tuning and able to play many genres very well. In fact, I find the price to be very generous for what you get, and I do believe that this “may” be the set to beat under $200 if the tuning resonates with you. Oh relax…. I said it “may” be the set to beat!
Each 3rd
The bass region hits hard, it’s impactful, authoritative, hard edged and tight in transient behavior. The midrange is lush, nicely weighted, natural in tonality, and great for vocals and instrumentation. The treble comes across punchy, expressive, extended and has a nice and controlled treble sheen. The soundstage is almost holographic with nice depth and a wide stage. Detail retrieval is very well accomplished as I can pick up on almost any of the finer things in my music.All things considered; the sound has a great dynamic balance, in that, the greatest dynamic expression in each 3rd of the mix (bass, mids, treble) has a balance to it. You won’t miss much with this set. Of course, some may prefer less bass. Some may want more or less treble activity. There will also be some who want a more neutral sound, so not everyone will always be a fan. As for me… I dig this set! Great job Hidizs! Let’s get into each 3rd of the mix…
Bass Region
The Hidizs MS3 has a tasteful yet fun emphasis added to this region. The focus is primarily in the sub-bass area of the low-end, but the mid-bass has plenty of emphasis as well. I also don’t find the bass region to be too accentuated when I look at the entire frequency as a whole, as the bass doesn’t dominate anything unless the track being played has a dominant bass presence. Basically, the bass is not intrusive and only makes its presence greatly felt when it is called upon. If the track you’re listening to has a ton of bass than that is what you will get and vice-versa. Granted there is some warmth in the lower-mids brought on by the subtle spill over from the mid-bass, but with all things considered; the low-end of the Hidizs MS3 is done in a classy way without ruining the entire spectrum in bloat.Sub-bass
The lowest of the lows has good density, or, satisfying density, the kind of guttural drone that vibrates in a way that you can feel. What I like is that Hidizs didn’t overdo the sub-bass (or mid-bass for that matter) and bump it up so grossly that it hinders the low-end with too much unnatural coloration. It seems that Hidizs “understands” that it’s nice to add a touch of good and fun physical meat… without drowning the entire mix in it. The sub-bass has a nice texture to it with a nice transient attack. The leading surface edge hits mildly quick with a nicely concrete depth to it and a decay that keeps things atmospheric. Basically, this sounds like good DD bass. It isn’t so snappy that you lose that organic affectability but it’s rumbly, clean and taught in the process.Listening to “Abracadabra” by Young Thug (feat. Travis Scott) on the MS3 is a grizzly and rumbly affair right out of the gate. There is a very palpable and tactile boom here. The MS3 totally does this song justice. Or a more obviously sonorous track like “Paradigm” by The Head and Heart. The MS3 doesn’t just fill my entire mind space in rumble, but instead it takes this bassline (which any iem can rumble to) and has some depth to the modulation in the rumble all the while never drowning out the lead’s voice. In fact, I hear perfect separation and no muddiness. It simply sounds nice. Another track I go to routinely is “Heavy is the Ocean” by Bush (off their latest album). Again, there is some detailed depth while digging very deep with this robust and dirty bassline which sets the entire tone of the track.
Mid-bass
The mid-bass follows suit of the sub-bass and keeps it clean with bass drops, kick drums, bass guitars etc. while never interfering into any other part of the mix in a detrimental way. The MS3 has authority in the slam it produces yet never is overdone in my opinion. I feel the MS3 simply replays what’s asked of it while keeping things fun. After listening to the MS5 I would have thought that we would hear more of a basshead type sound but that simply isn’t the case. Now I do think that bass bois will find gratification in the MS3’s portrayal of the mid-bass but I wouldn’t call it a basshead replay at all.Listening to “Groove” by Ray Wylie Hubbard, the MS3 displays a grizzly bass guitar riff that sounds up front and very edgy with a fullness to it. I feel like I can hear all sides of the bass. Or the thunderous successive kick drum booms in the song “Billie Jean” by Weezer (Michael Jackson cover). The sound is deft, nimble, solid and round. There is almost an echo which quickly follows the fundamental boom and the tightly textured thud of the drum. “Rich Off Pain” by Lil Baby and Lil Durk is an example of a bass drop done right without simply throwing bass at a hip-hop track but instead the MS3 keeps a rewarding, tidy, and reverberant slam.
Downsides to the Bass Region
I’m really pushing it to call this a con, but for those who cannot stand a little bit of bass than the MS3 may not be the set for you as there is definitely a bass presence. This bass is not in any way a con for me, but it may be for some of those who are reading this.
Midrange
The midrange can be summed up in at least a few words… musical, rich and vibrant. The brunt of all music usually rests solidly in this region where we find the fundamental frequencies of much of the instrumentation in most genres. The midrange is primarily where we find male and female vocals residing as well. So, getting this region right can usually make or break a set of earphones for most people. I did say “most”. Like I’ve stated, In the case of the Hidizs MS3 I find this set to have a nice dynamic balance across all three general portions of the frequency, which in turn renders the midrange pretty melodious and technically adept as well.I don’t find the MS3’s midrange to be overly recessed as I hear good presence and amplitude in the midrange. The graph will tell you there is a small dip of recession in the midrange, but I don’t really hear it. I definitely wouldn’t call it mid-centric as the sound has more of a balance, but I would say that the midrange is a “pro” on the MS3. The midrange is more on the lush side of the scale with a smoother overtone however this doesn’t mean the MS3 doesn’t have a detailed midrange. In fact, I find the MS3 to have a nicely resolving sound in this region, even with the lusher sound. Of course, this is not a dry and analytical detail monster in the Mids but the MS3 is very well done and ultimately very clean and with nice pacing, timing and transient behavior.
Lower-midrange
Male voices come across with nice body to them which in turn sounds more natural to life. The MS3 has a nice ability to come across organic with all types of male voices. Listening to the track “The Gambler” by Home Free (Kenny Rogers cover) you’ll hear every type of men’s vocals. Listening with the MS3 paired with the Shanling M6 Ultra each of those voices will come across distinct and nicely weighted with a tidy note outline to each as well. This song is a testament to the MS3’s nice balance of warmth and cleanliness. Males are in a good place on the stage, not too up front and in your face, but also not pushed back and distant. They highlight the track without overshadowing anything else.A higher pitched male vocal like the lead’s voice in the track “Casual Party” by Band of Horses comes across nicely etched out around the canopy of instruments around him in this energetic song. Or a deeper vocal, like bass singer Avi Kaplan (from Pentatonix) in the song “First Place I Go” actually sounds sonorous and forward with a nice warmth and crisp note outline.
Upper-Midrange
Female vocals have more energy than males and are closer in the stage as well. There is an evident shimmer in females while listening with the MS3. Something I enjoy quite a lot. To go along with the running them of the MS3, females have good note weight. Females have this effervescent quality to them on the MS3. For instance, “Half In Half Out” by Gabrielle Aplin has such a sweet and eurythmic inflection to her voice which whispers soft in a subtle moment yet is crisp and resounding when she opens up her voice. The thing which always remains is the distinct and clean outline to her voice and the uplifted tone to her voice. The MS3 really does do females nicely without specializing in them.Another example is Jess Williamson in “Stampede“. I have to remark on how well the MS3 is able to highlight her voice as well as highlight instrumentation while keeping everything separated. I can concentrate on any one instrument if I’d like to as separation is very well composed along with great imaging. Jess has a voice very close to an artist like Jewel and the MS3 replays her very well. Females come come across nicely on the MS3, no matter the pitch or tone either.
Instruments
The upper-midrange is slightly elevated as a whole with enough transient speed and control in the midrange to really create a nicely drawn out and imagined stage. I find all instruments to sound mostly natural as well. Piano is nice, strings sound detailed and transparent, percussion comes across buoyant, round and impactful and instruments like trumpets sound prominent and thickened, and the list goes on. I haven’t heard an out-and-out weakness yet. The fundamental body of a cymbal strike is a nice exclamation with good body and tone. Snares pang with energy. Again, the list goes on. I’m sure that some will find something to complain about but for $169 I’m finding it difficult to nitpick.Downsides of the midrange
However, if I were to nitpick, I would make mention of the slight bit of sibilance in tracks which are more prone to it. At times you’ll hear an “SS” or “ZZ” sound linger a hint longer than natural. Also, for those who want a more analytical, dry and neutral sound, they may want to look past this set. Truthfully, it’s hard to nitpick on a set like this.
Treble Region
The treble is uplifted quite a bit, even using the “balanced” nozzle, and even more so using the “treble” nozzle. Still, any less emphasis and the balance would be off, and the tonal color would slip left into more warmth. Possibly sounding less open and airy. In my humble opinion. Thankfully the treble seems to uplift the entire spectrum with added snappiness and even treble bite. The treble is nicely done and adds a nice zing to the upper regions and does well to illuminate some of the minutiae in a track. The treble does well to come across smooth and palatable but can also come across very crisp when called upon. Timbre up top sounds close to natural to my ears and there is really nice energy up top.I hear nice extension in the upper treble region with some added brilliance. There is plenty of information out past 10k that is easily heard and accounted for. The secondary harmonics of a cymbal strike don’t sound tizzy or splashy to me and mostly sound full of a nice “chisk”. Strings sound clean and bouncy. Piano has a nicely mellifluous and harmonic reverb and echo. That’s all that my notes have but from what I recall there isn’t anything that was a “red flag” to me in the treble region.
Examples
Listening to Billy Strings song “Secrets” I was impressed with the MS3’s ability to keep up with every note of Billy’s rapid-fire banjo play while also doing a great job of highlighting Billy’s vocals. The MS3 picks up every little gradation, finger slide, and scrape. I found that either the balanced nozzle or the treble nozzle handles this track with a nice crispness that exposes the variations between each instrument. The MS3 handles chaos pretty well.Another track that the MS3 absolutely slayed on was Yusef Lateef‘s song “Bishop School“. This is a track that I use for treble response in testing as there is a slew of treble activity that creates utter chaos on a less qualified iem. The MS3 is actually able to undress this song and bring to light each and every last instrument. I can distinctly hear the flute play, bass, congas, drums, electric bass, electric guitar, percussion, trumpets, strings and piano play as well. Some are easier than others as the recording isn’t perfect. Many of those instruments listed reside ‘at’ or ‘near’ the treble region.
Great at details
I will cover this later in slightly more detail but the upper regions present micro-details very well for the price point. I would go harder but I’m trying to keep my cool here. The treble is very resolving and transparent for a V-shaped tuning. There is the slightest bit of BA treble occurring but nothing that annoys and for the most part the treble is pretty natural. What I Don’t hear is anything shrill, or peaky, or any tizziness, and only a very slight metallic “BA treble” which is fantastic. For all intents and purposes, the MS3 does micro details nicely up top, all the while not causing any great fatigue. Of course, not much causes offense to my ears.Downside to the treble region
There is some slight sibilance but nothing which was a bother to me at all. I suppose the treble region could use a bit more of a snappy punch and crispness when called upon for some folks. Truthfully, the only real issue would be a subjective issue for those who simply need more or less treble activity and emphasis. As far as the technical chops in the treble region or the actual “quality” of the treble… it isn’t bad at all, and very good for this price point. There are sets which specialize in this area, but they also can lack in other areas. The MS3 on the other hand has the ability to do it all pretty well.
Technicalities
Soundstage
The soundstage has a nice size to it for the price point which is actually quite a compliment considering that there are many in this range that have great stage sizes. I hear a wider stage with a lot of spaciousness. I hear a nicely wide stereo image that expands well. One thing I noticed is that the sound at the farthest reaches of the stage comes across just as voluminous as those which reside in the center. The height is above average as well. The best part is the good depth that I hear which leads to nice layering of sounds. I am impressed with the large stage that still has good macro-dynamics across the mix. I hear a more 3D or holographic type mental image when listening to my music which is nice to hear but other iems can do so equally or even better.Separation / Imaging
Separation is really great. Even on complicated tracks you can very easily perceive that the drivers embedded inside the MS3 are of good quality. When you have nicely tight and controlled transient responses from each area of the mix, a more transparent sound, as well as a balanced sound you will more than likely also have pretty good separation of elements on an imaginary stage. Imaging is spot on in every track in my “technicalities” Playlist which has every type of music you can think of from acoustic to completely complicated. I found the MS3 to separate and partition off each and every element of every track so long as the recording was of good quality. Basically, what you feed this set… It’ll play my friends. Perhaps there are some sets which do so better but for this type of dynamic sound the MS3 is very well accomplished here.Details
Is the Hidizs MS3 tuned and created to be a detail oriented iem? I don’t think so. The MS3 has a dynamism to it, bigger basses, plump midrange, smoother treble. The MS3 is a fun sounding set with a very expressive and vivacious sound. However, both macro and micro details shine through despite this. With a set like the MS3 I think you have the luxury of a dynamic performance with a fine-tuned and detailed replay as well. To be honest, the detail retrieval kind of surprised me. The stage is wide, deep, and tall, all the while the sound is clean, and tight, with a transient response which is perceivably pretty rapid and controlled. These attributes compose a recipe for detail success to at least a slight degree. Also, there is ample separation and great imaging which also helps to draw-out the finer details.
Comparisons
Note: The comparisons in this review are not a duel to the death. I have zero want or need to establish if one thing is better than the other. I use comparisons as a tool to hopefully better explain the iem that I’m reviewing. Hidizs MS5 ($399)
The Hidizs MS5 (MS5 Review HERE) is a Hidizs flagship level iem that was either loved or… not loved. I for one adore the sound, as it is a different and fun take on my musical library. The MS5 is a five-driver hybrid consisting of a fantastic Liquid Silicone Dynamic Driver and four Sonion Balanced Armature Drivers. Truly a fantastic iem but there were certainly mixed reviews. As for myself I consistently listen to the MS5 and have the perfect tracks for my listening. One thing the audioverse was waiting on was how Hidizs would respond to the nitpicks from reviewers on this latest set, the Hidizs MS3. The MS5 costs quite a bit more. In fact, if original price is taken into account ($499) than the MS5 costs almost three times as much. Let’s try to compare the two now.
Ergonomics / Aesthetic
Both iems are very ergonomic but I find the newer MS3 to have a better fit for me. Many people complained of ear pain from the fit of the cable, but I can tell you right now that this issue has been given special attention to on the MS3. As far as looks are concerned, both of these iems are fantastic looking sets. The accessories are about the same although the MS5 does come with a carrying case. I will say that I like the newer cable which comes with the MS3 better than its more expensive older sibling. Although the MS5’s cable is absolutely beautiful. I think the difference is in the newer cable’s usability, as it’s a little easier to use in everyday listening.Sound
The Hidizs MS5 is a much warmer sounding iem yet with much more of a treble rise and spike as well. Some complaints towards the MS5 were that its treble was too shrill and too far boosted. I didn’t think so (depending on nozzle choice and tip selection), but I understood what these reviewers were saying. The MS3 seems to be a much more balanced effort with equal parts in each area of the mix. The MS3 is closer to warm/neutral depending on the nozzle setup whereas the MS5 is dark/bright in tonal color. I find the tuning nozzles of the MS3 to have a greater effect on the sound as well. I should also add that the MS3 is much easier to drive to good fidelity. Much easier! The MS3 can run off a simple dongle dac and the MS5 wants as much juice as you can give it.Bass Region
Both sets can flat-out bump, but the MS5 does have a slightly more robust low-end with a more taught sounding bass region. This is not to take anything away from the MS3 as I adore the bass on the MS3. However, the note outline and leading edges on the MS5 are a hint harder lined. This can be changed a bit by switching nozzles but mostly the MS5 outperforms the MS3 by a hair in this area. To be honest I debate this to myself, and it took quite a lot of listening to come to this conclusion. Who knows, by the time I was done I may have dreamed this up. Both sets sound fantastic down low.Midrange
The midrange is much better tuned on the newer MS3 if you ask me. Perhaps the MS5 has a touch better detailed midrange but as far as musicality is concerned… It’s the MS3 all day long. The MS3 has much sweeter female vocals and better controlled male vocals while showing off better separation and imaging in this region. The sound is much easier to stomach without nearly as much sibilance as would occur on the MS5 at times. This is not a clear win across the board though. The MS5 does have a lusher note weight with a more forward sounding midrange and is very nice for vocals. That said, the MS3 is more musical and simply more realistic to my ears and can play more genres better.Treble Region
The MS5 is much brighter, even with the MS3’s treble (silver) nozzle installed. The timbre up top is simply better on the MS3. The MS5 has some forced resolution up top with a drastically enhanced treble region but the MS3 has a much more natural and organic type of replay up top. Micro-details do show through on the MS5 a hair better as the treble is very resolving. Again, this one could easily be debated. I think Hidizs did a fantastic job tuning the MS3’s treble and it’s a marked improvement over its older sibling as far as timbre and tonality. Both offer nice details. Some may enjoy the more pronounced treble of the MS5 but speaking for myself, I feel the MS3 is better.Technicalities
As far as technicalities are concerned, I feel that both sets offer a large stage size, and neither is far and away better in this area. Both sets have nice depth of sound field, and both are clearly above average in the stage size department. Details are a hair easier to discern on the MS5 in the treble region, but the midrange belongs to the MS3 in my opinion. More organic and natural timbre and with more air in the midrange. It should also be stated that neither set is abysmal in the detail retrieval department. Both sets present all the tiny little subtleties very well.In the end
In the end I think that more people will generally enjoy the MS3 over the MS5. Just due to its more recognizable and mature tuning. The balance is better, timbre is better, musicality across the board is a bit better and the MS3 is more palatable to more people I would think. Truthfully, I find the MS3 to be one of the better iems in its price point, period. The MS5 has its great selling points and is a very good iem in many facets but the tuning is more particular whereas the MS3s’ tuning fits a broader range of musical genres, which in turn means it’ll likely suit a vaster number of hobbyists.Aful Performer 5 ($219)
The Aful Performer 5 came along like a brush fire of hype and hope. For a hot minute this set had the attention of the entire audio community. However, after some “up and down” reviews, it was obvious that some of those positive thoughts may have been honeymoon hype. With that said, I really enjoy the Performer 5 and do consider it one of the better iems in its price point. Like anything, it has subjective little flaws, but nothing which jumps out at me. In fact, the P5 is a pretty darn well tuned set. The P5 is a one DD + four BA hybrid set which is made completely out of resin and has a stylistic look. Costing about $50 more than the MS3, the P5 should be much better and if we’ve learned anything from the mS5 comparison… We shall see.
Ergonomics / Aesthetic
Both of these sets offer a very ergonomically friendly design meant for long listening sessions. I do seem to get a better seal on the P5 but both sets fit like a glove in my ears. As far as look goes, although this is very subjective and personal to a person, the MS3 are possibly the better-looking set (my opinion) and the better built set. To be honest, I don’t think there is even a comparison here. One is made of resin, and one is made of aviation grade aluminum. One is orange, brown, and yellow and the other (MS3) is just flat-out DOPE! Was that an objective answer? Anyways, yes, the MS3 is the more durable iem of the two, I don’t think there can be much of an argument against that.Sound
I love the sound of both of these iems but they are quite different in terms of replay. The P5 comes across neutral to the ear with a very resolving sound and the MS3 has a touch more warmth and dynamism. Both sets are easy to drive but the MS3 is the easier of the two to drive to good fidelity.Bass Region
Both sets can bang. However, the MS3 has the tighter bass with a much more controlled presentation. I find the MS3 to have more slam and impact with a punchier sound. The P5 on the other hand has a deeper extension into the lowest of lows yet when it comes to its leading edge on attack through sustain there is a softness that can sound sligtly flabby to a degree, especially when compared to a set like the MS3. I hear a more densely robust sound on the MS3 with notes that can come and go more rapidly.Midrange
Both midrange replays are subtly different. The P5 has more forward female vocals whereas the MS3 has more forward male vocals. The MS3 has much more of a lush and smooth approach to the dryer sounding P5. That said, the P5 is also more resolving in this area. Granted both sets offer a resolute playback, but the P5 is quite literally known for this attribute. Details in the midrange come across a bit easier on the P5. In the same breath the MS3 has a much more musical and emotional sound. There is simply a more dynamic and present sound on the MS3. Still, the P5 is a very nice set for vocals. Pick your poison, I guess.Treble Region
This is the greatest difference between the P5 and the MS3. The MS3 has a much more emphasized treble region and thus a much better detailed sound with a lot more treble punch and snappiness. The P5 has a softer treble region and is actually a very safe tuning up top. Of the two the MS3 is much more shimmery and vivacious up top with a lot more energy.Technicalities
As far as the stage, the MS3 has the bigger stage in almost all directions. I say that but the P5 is no slouch and has a great stage. Separation and imaging sound slightly better on the P5 but it’s by such a small margin that it probably isn’t worth noting. For the most part, details can be picked up a bit better on the MS3. These two trade blows quite a bit, but to see that the MS3 not only holds its own but even overtakes the P5 in multiple key metrics is saying something. Hidizs isn’t playing around anymore fellas and ladies. It appears they are going for the under $200 crown and for what it’s worth …it also appears they are going straight for the jugular.In the end
In the end these are both two stellar iems and are each relatively close in price at a $50 difference. I can’t say one is better than the other as that is a very subjective statement, but I can say that one (Hidizs MS3) is more fun sounding, more spirited, lively and vigorously zippy and simply built better. The P5 has its own glorious attributes and is cemented in my rotation for its silky-smooth delivery, clarity, non-offensive airiness and great vocals.
Is it worth the asking price?
This is one of the easiest answers I’ve ever had to give. Absolutely the Hidizs MS3 is worth the $169 asking price. What’s even crazier is that the MS3 is being offered for $113 for a limited time. One thousand percent… Yes, the Hidizs MS3 is worth every penny.The why…
Let’s see, the build is exceptional, the look is ridiculously cool, and the tuning is awesome for a V-shaped set. The bass digs deep and stays in good control while not overstepping its position in the mix. The mids are clean and energetic and the treble is very vibrant and shimmery without causing fatigue for most people. The stage is large and wide and holographic, and my music sounds great through the MS3. The cable alone is the best in the price point! The accessories are fantastic for $169 (minus a carrying case, nice pouch though) as well. I think this is an absolute no brainer at the price being offered my friends. I will always give you my exact thoughts and I truly believe that the MS3 is one of the best buys under $200.Can’t deny
Listen, not everyone will be a fan. I don’t expect that. As a reviewer there has been a litany of times that I’ve loved something that somebody else emphatically does not enjoy. That’s life. However, the intangibles are there on the MS3. Nobody can say that the MS3 is a technical slouch. Nobody can say it isn’t dynamic and fun. Also, nobody can say that it isn’t accessorized to the nines. I don’t expect everyone to be a fan, but I think those people will be very few and very far in between. Basically, the MS3 is a very good iem that seems strategically placed at the price it’s at. This is a nice set in my humble opinion.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the Hidizs MS3 ratings below, that would be $125-$200 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $125-$200 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable. Especially if the iem in question is something like the Hidizs MS3.Aesthetic
-Build Quality: 10.0-Design: 9.8
-Accessories: 9.5
–Overall: 9.8
Sound Rating
-Timbre: 9.4-Bass: 9.5
-Midrange: 9.2
-Treble: 9.6
-Technicalities: 9.5
Overall: 9.5
Full review HERE
Conclusion
To conclude this review, I want to state that I’ve had a blast both critically listening, and casually listening to the Hidizs MS3. Truly it is a competitor in the price point that the MS3 rests at and I must repeat that from my perspective it is a no-brainer purchase. Hidizs has really stepped up their already impressive game with a set that should make a mark within a loaded sea of iems.I dont want you to simply take my word for it. I am only a man my friends and I only can share my authentic thoughts. Please read, listen to, or watch other reviews of the Hidizs MS3 and take in other perspectives so that you will have a better idea of what the MS3 is all about. We all have different likes and dislikes, different hearing abilities, different gear and we all haven’t been down the same audio journey. It’ll only help you to make an informed decision.
I want to send out a very special thanks to Bella and to Hidizs as well for providing the Hidizs MS3 in exchange for a full review and feature at mobileaudiophile.com. They have been so very helpful in answering any question that I have, and I am so very impressed. So, Bella…thank you! With that I want to also say thank you to anyone who takes the time to read any word that I write. I do hope it helps you in making a purchasing decision. Please take care and stay safe…God Bless!
L
LikeHolborn
sounds like a akg n40 , have you tried lasya? jasper? en2j? is there something like it that puts voices forward but laid back treble? 
, have you tried lasya? jasper? en2j? is there something like it that puts voices forward but laid back treble?
L
LikeHolborn
i heard rose (mini 2 or something) to be nice too, martini is the bud version for a musical example and does something special/competent and rather complete really. there is a lower end aür audio that's too 
too
KBear KW1 Review
KBear KW1
Intro
Hello, this is my full written review of the KBear KW1, KBear‘s latest bullet style (fixed cable) iem. I have been using the KW1 for many days when out and about and have found them to be quite pleasing. However, I will get into that later, for right now I simply want to say thank you to KBear for their generosity in providing the KW1 for a full review and feature. Thank you very much.KBear / TRI
KBear/TRI has been in this hobby for quite some time now and have truly cemented themselves into the lore of the Chi-fi universe, or thee… “Audioverse” as I like to call it. They’ve come out with many very well-tuned and beloved iems over the years, and they continue to release iems at a rapid pace. KBear’s sub brand “TRI”, the more luxury version of the brand, does seem to enjoy more success as the prices begin to rise past $100, but the budget offerings from KBear do just fine in the budget space and even a few past that $100 barrier. Basically, KBear has a firm hand in the market and in my opinion a good KBear is good for the hobby.Here for a reason
KBear has been somewhat up and down of late in regard to the reception from the audio community over some of their budget earphones. I actually recently (within the past year) reviewed a number of KBear iems. From the ultra-budget KBear Dumpling and KBear Storm to the (+$20) KBear Rosefinch, KBear Quinglong, KBear Ink, and KBear Ink MK2 etc. Each set seemed to be created for specific tuning styles or use cases rather than all-rounder type earphones.Take the Rosefinch for example, it’s a basshead type replay which had some reviewers giving it bad marks. Yet, for what it was created to be (basshead), the Rosefinch is actually quite good. Everything should be graded to the style and tuning with which it was created to be. I digress, the truth is that KBear is still in this game for a very good reason, by creating affordable iems that always perk up the eyes of hobbyists. They also create unique iems which serve particular tastes, and this is a very cool thing amongst a sea of copycats. The KBear KW1 everyone…
Gear used for testing
–IPad 6th Gen.–Ifi Go Blu
–Qudelix 5K
–Hidizs S9 Pro
–iBasso DX240
–Shanling M6 Ultra
KBear KW1 Full Review
Packaging / Accessories
The KW1 comes packaged in a mostly utilitarian and simple box which resembles many budget iem packages in its price point. I think that, at this price we shouldn’t expect very much. The box which arrived in my mailbox is small and white and has a picture of the KW1 on the cover. Not really much to report and it’s not like there’s even one soul who cares but I’ll do my due diligence. As I opened up the box I actually was surprised because KBear actually added a case with the KW1… I would have never guessed. Anyways inside of the case you’ll find the eartips as well as the KBear KW1 themselves. 
Case
What a nice surprise. Well maybe surprise is a stretch. However, I think it’s a nice addition to this set. The KW1 are a gorgeous set of earphones and I’d hate to scratch them up. Anyways, the carrying case is large enough to carry the KW1 and possibly some eartips and if you are really crafty you could. Probably fit a teeny tiny dongle dac. The case is colored gray with a fabric material covering it all the way around with a nice zipper for opening and closing. Truthfully this is a nice carrying case and much more than I’d expect from KBear at the price of $29.
Cable
The cable Is actually a fixed cable, meaning you cannot disconnect it from the KW1. Normally I would be wholly against such a thing, and I still am to a degree but there is something special about the KW1 which helps me to not care so much. Plus, the fixed cable is actually quite nice. KBear doesn’t tell us how many cores the cable has but they do tell us that it is a Silver-plated OFC cable and that’s about it. Honestly, I don’t really need to know much more. The white colored cable is very nice looking and looks aesthetically pleasing to the eye as it contrasts the Rosewood of the KW1 perfectly.
The KW1 comes in three different connection variations which can be purchased at checkout. One is the 3.5 single ended unit with a straight jack, the other has a usb type c connection and the third has an IOS lightning connector for APPLE devices. Obviously the 3.5 single ended unit comes without an included dac chip such as the other two (type-c, lightning). KBear advertises the dac chips can reproduce a perfect signal from the source yet doesn’t divulge the actual chip being used. On the cable you’ll find the sweet looking mic which is partially clear to see the inside tech. The mic controls everything and actually sounds great for calls, believe it or not. The cable has a quality look and feel as it is nicely pliable and is easily manageable.
A few more things
Real quick, I found the cable does have some microphonics whenever moving around with the KW1 in my ears. Not the biggest issue when playing music but can be bothersome if you are the type who gets bothered by such a thing. I barely even pay attention as I grew up with microphonics on every cheap set I put in my ears as a youngster. Another way to mitigate this issue is to simply water the KW1 over your ears… yes it can easily be done and does help. Another thing worth mentioning really quick is that the cable rolls up. Perfectly and doesn’t spring out of control every time I go to store the KW1. This is important and I am happy to report this.Eartips
Another aspect of the accessories which subtly surprised me is the addition of not just one set of three eartips, but two. The first is a white set of three eartips (S, M, L) with a somewhat flimsier flange and a semi-wide bore. The next is a set of three gray colored eartips (S, M, L) which have a firmer flange and a slightly smaller bore. There isn’t anything special about the tips, but I did try them both out and found that the KW1 doesn’t jive very well with either set. I actually went through my vast cavern of tips and settled on the Tenmak Whirlwind tips. The Whirlwind’s are a shallow fit, firm flanged, firm bore set with a wide bore. I do think that tips play a role in the end result of the sound.
Build / Design / Internals / Fit / Drivability
Build Quality
Looking at the actual build of the KW1 it is very easy to see that KBear made something special which is obviously of fantastic quality. The KW1 is a smaller bullet style iem with a semi-open back rear cavity. KBear states that the production length of each shell takes up to forty days to complete. They also reveal that there is a four-part oiling process as well as grinding which goes on to obviously shape this set. Also, for what it’s worth, KBear advertises that they complete a humidity test, a 2-meter drop test, a negative 0° Celsius cold temperature test, a 60°Celsius high temperature test, a 500N pressure test, and an 800-day life cycle test. Okay that was a mouthful. I have zero idea how in the world they conduct some of these tests, but it sounds good.The KBear KW1 is made from front to back in Rosewood with gold-colored fittings contrasting the light reddish brown of the Rosewood. The Shells have a high-polished beautiful glossy coat covering the external side of the Shells. KBear states that they also have a darker set using Ebony wood. On the back of the KW1 you’ll notice a semi-open back vent with a golden colored ring around for looks. I don’t know how much of a help this back vent is but KBear did advertise the KW1 as semi-open. Anyways, the KW1 is a durable feeling set with all cable reliefs structured very well, the shell body feels solid and durable, the nozzle is solid too and honestly this looks like a set that will hold up being tossed in a college kids book bag. Great job KBear.
Design
I’m sure you can guess it but the KW1 (in my humble opinion) is one of the most striking bullet style iems I’ve seen in quite some time. Truly a unique and ridiculously charming set of earphones with perfect coloration and a classy design that overshoots its price point pretty easily. This set has this alluring quality which is both handsome and elegant at the same time. One of the more eye-catching and splendid iems I’ve had the pleasure of putting into my ears and all for the low price of McDonald’s for two at $29 US. Please, will someone shake the hands of the men and women who designed this set?! Fantastic job! How dope does one look strolling down the block, jamming to their tunes with these little sirens tempting all the audio geeks out there? To answer that… Um…real dope!Internals
When choosing a driver and driver material to be used, KBear ended up going with an 8mm LCP (Liquid-Crystal Polymer) single Dynamic Driver. In truth I don’t think they could’ve added anything larger. I think 8mm is nice for this size.Drivability / Pairing
I find the KBear KW1 needing a touch more amperage than I’d suspect even though they are rated at 16 ohms with a sensitivity of 105 db’s. The KW1 does slightly open up with additional output power from the source but that is simply due to the need for more volume. I think the biggest difference comes from synergy and pairing of sources with the KW1 because of its warm tonality.Sources
Using an IPad 6th gen. I was able to bring the KW1 to decent volume (80/100) but I did notice technicalities suffer, not that technicalities are the highlight of the KW1 to begin with. The stage is the smallest using this listening method. Jumping up to the IFi Go Blu with its CS43131 dac chip which has a warm, smooth & dynamic sound. I think it is easy to bring the KW1 to volume, but the synergy simply isn’t there for me. Way too warm which makes everything muddy and hazy. I wanted a mobile solution for when I’m out and about with the KW1 and turned to the Qudelix 5k which uses the ES9219C dac chip. The KW1 seems to pair nicely with the 5k as the contrasting tonalities were great for when I’m on my travels or working around the house etc.Dongle dacs
So, I wanted to also find a dongle dac with some “decent” power and a 3.5 single ended connection that is a bit more analytical or closer to neutral for when I’m just maxin’ n’ relaxin’ and jamming out in my lawn chair. This led me to the Hidizs S9 Pro. This pairing works pretty nice as the S9 Pro (ES9038Q2M dac chip) comes across more snappy and open sounding. Listening with the S9 Pro I was happy to hear a slight breath of air in the sound. I did say slight. However, it also made the KW1 come across as warm yet resolving for the tuning.DAPS
Jumping up in fidelity and power I have two daps to choose from in the iBasso DX240 with its ES9038Pro dac chip and clean, dynamic, neutralish sound or the Shanling M6 Ultra which uses a AK4493SEQ velvet technology dac chip. With the M6 Ultra the sound is veiled and overcast in a haze using the KW1. The sound simply doesn’t synergize at all. So, turning to the Ibasso Dx240 was the way to go and added more lift and openness while tightening up the low-end. There is such a radical difference that I’d say if you don’t have a clean neutral source then don’t even bother with the KW1. Truthfully these two sounds great together, so much so that this was the unit I conducted most of my review with. Please take that into consideration.The long drawn out point I’m making is to pair the KW1 with a clean, closer to neutral sounding Dongle Dac at the least. It helps if it’s resolving and decently powered as well. The KW1 will take what you throw at it, but there is a limit to how far they will scale. Mostly it’s the synergy which matters and finding a source that contrasts the warm nature of the KW1. So, to condense all of that into one sentence; the KW1 is harder to drive to good fidelity, so using a decently strong dongle dac will be best, and pair it with a neutral sounding and open sounding source.
Sound Impressions
Note: I did burn the KW1 in for roughly 50 hours prior to critical listening and I honestly didn’t hear any difference. Also, please know that I did all listening with either the iBasso DX240 or the Hidizs S9 Pro which are both more neutral with snappy transient responses and really do well to contrast the warm haze over the KW1’s sound. This is very important. The KBear KW1 are a warm/dark sounding iem with a smooth veil cast across the entirety of the spectrum. If you aren’t a warm, lush or dark lover, then you should probably not jump on this set. I know quite a few who adore this dark sound but if I’m being honest, it isn’t my favorite, at all. I will always gravitate to a more neutral and open sound.
Pallet Shock!
You have to understand that I have just been listening to the KZ AS24 which is about as neutral as you can get. Then right after, in comes the warm and silk nature of the KW1. Calling it “pallet shock” is an understatement. At first, I thought the midrange was simply a muddy and veiled mess. Which it is to an extent. That is until I pushed through my eye rolling pomposity and actually went through my Playlists.What I found was a smooth and heavy sound which is actually resolving in its own warm way which is entirely relative to the tuning of course. There is a warm hue cast across the entirety of the midrange and treble which does come across veiled to me. In spite of that, I do believe that this was the idea. This set was made for those with basshead tendencies, and I think that KBear achieved that. For all intents and purposes, the KBear KW1 sounds great! I have to admit that the KW1 is far from my favorite type of sound and signature, but I do find myself enjoying them with the right type of tracks.
I do think that tip choice plays a small part in opening the upper regions up a hair and more than anything source helps. I’ve said it a few times, if you only have a smoother, warm, low-end heavy source then I wouldn’t even try to pick up the KW1. This set absolutely needs a cooler sounding source to break up some of the warmth as it really makes a big difference. Going from the M6 Ultra to the DX240 made a nice swing to the sound for example.
Sound
Without question the KW1 is an L-shaped iem which carries a heavy low-end presence. The low-end hits deep and is greatly emphasized against the rest of the mix. The bass can mask over other frequencies but for those who enjoy that bigger bass, I’d say you may have found a nice set in the KW1. The KW1 is almost all bass to my ears and that extends across the spectrum almost encapsulating everything in.The midrange hosts nicely weighted and smooth sounding male vocals which are helped in this aspect by the bass overflow into the midrange. The upper mids are completely non-fatiguing yet still present a nicely bodied female vocal with good presence. Also, females come across smooth and warm and without any sparkles or shimmer, yet the upper mids still have enough energy to represent instruments or any other info which resides in the region.
The treble is actually decently extended and at the same time non-offensive to the core. The KW1 could certainly use some treble punch as well as some brilliance up top. With good amperage and a clean source, the KW1 has a velvet type of resolve which can bring upon some macro details though nobody should purchase this set for its detail retrieval. The stage is more intimate yet there is good fullness of the stage.
Bass Region
BASS BOIS ARISE! The KBear KW1 is a bona-fide basshead set which takes any track and finds the bass within pulling out any semblance of low-end activity and then exaggerating those sounds. The KW1 has bass that tickles your eyelids and itches your ears. Truthfully this set brings me back to 1998 in my Hoopty Wagon with the seat waaaay back, one hand on the wheel, Outkast, 2pac, Wutang Clan or The Geto Boys etc. spilling out the windows. This is what the KW1 is to me. It’s a certified BASS BANGER that is unapologetically forthright in its purpose, unreserved in its specialty, and flat-out unambiguous in its one-sided dominance of the bass region. It hears you audiophiles complaining but guess what… the KBear KW1 doesn’t care. In fact, I may have heard it laugh right in the face of your disgust. Sub-bass
The sub-bass comes across robust, big, and booming with a dense and tactile rumble that has pretty good speed considering the emphasis down low. The sub-bass has a reverberant guttural quality that has a haptically tactile sound which is slower yet palpable on attack with a quicker decay. That said, it isn’t flabby or wooly at all. It’s a nicely deft sub-bass that is very satisfying in the right genres. “Groove” by Ray Wylie Hubbard proves this right away as there is a dirty and sonorously abrasive bassline to begin this track, and the KW1 seems meant for it. Basically, the sub-bass goes deep and gets it! This is for fans of bass and for the most part… those fans alone.Mid-bass
The mid-bass packs a big slam yet is less emphasized than the sub-bass region. Certainly, the KW1 are living up to the basshead type of replay as there is around a 13 dB rise on the bass shelf at the sub-bass area and slowly glides down the mid-bass (at least the product graph from KBear shows this). Songs like “Never Imagined” by Lil Durk have an authoritative bass drop that stays in good control considering the prominence that the bass carries in the mix. The mid bass replays bass guitar with some serious meat to the sound, kick drums boom and bass drops flex with this set.The KW1 is a basshead style earphone as most of the frequency priority lies in the low-end range. Remember, KBear isn’t trying to create some audiophile high fidelity masterpiece to curb your hi-res standards. They told us what this set was about and didn’t deviate. The KW1 is about feet moving, toe tapping, and head bobbing bass. So, I am constantly reminding myself that this is the vein with which I am judging the KBear KW1.
Downsides to the bass region
The biggest drawback of a bass like this is that… well… it has a bass like this. It isn’t for everyone. Straight up. The bass casts a shadow over the entire mix which kind of sucks the air out of the music. I do know many friends who will totally enjoy this sound as it’s kind of a throwback to some sets of old. Still, this is not what most hobbyists would go for as there is almost too much warmth without a contrasting high end to liven the tonal color to make the KW1 brighter and airier and in effect more exciting and cleaner. The bass is the culprit, and the bass is the hero depending on your subjective likes and dislikes.
Midrange
There is a warmth across the midrange which renders every note and every leading edge with a smoothness that almost “feels” like velvet. Listening with the iBasso DX240 the KW1 comes across with nice depth to the sound and nice macro-dynamics yet with a softer note outline which can be appealing. It’s downy-soft, satin like, and cottony. Every hard edge has been polished and buffed down to a smooth glide. However, in that feathery display of sound it also comes across cleanly, believe it or not. No, it isn’t pristine and squeaky clean like a neutral set with a fast driver and tight transients. It’s a different kind of clean. Like transparent oil which finds the path of least resistance there is some resolving ability here.Lower-midrange
Male vocals aren’t going to wow you with their ability to sound natural. Nor will they excite you with their energy and note definition. However, there is decent resolution in the warmer setting. The KW1 is all smooth, all the time. No hard edges, nothing knife edged, and detail retrieval isn’t the KW1’s superpower, at all. The KW1 excels at fatigue free listening, and the warmth you hear is a cozy pillow yet somehow is uniform in its replay. Foy Vance in “Time Stand Still” sounds moist and full. His voice isn’t as chiseled as with most sets, but it comes across caked in a more humid and wetted way with a robustness that is easy to digest. Males altogether are recessed but still hold nice presence, even with the veil hovering over the sound.Upper-Midrange
Females sound a bit more forward than males with better energy and slightly less warmth overall. “Everything I Didn’t Say” by Ella Henderson sounds lovely. There isn’t any shimmer or sparkle to be heard but her voice has enough of a vitality to come across measured and charismatic with a highly emotional twist to the song listening on the KW1.Now, some songs do sound too laid back for me as I like females to have that sweet glistening shimmer within their vocal expression. I’m sure some may dig this a lot but it isn’t my favorite. I’d say the saving grace is in the non-abrasive, non-offensive, and emotional nature the KW1 has along with good note weight throughout. To be 100% transparent, I will not spend a ton of time listening on this set past this review but female vocals do have an alluring quality which sounds inviting to me after listening for a long time and adjusting my brain to it. I did find “John Wick” to be a very fun movie to watch with the KW1 in my ears.
Both instruments & vocals will not come across naturally. There is just too much of a warm veil over the sound to call it organic. However, this doesn’t make it necessarily bad. There is just a bit too much color that skews the sound to call it natural. However, you will hear nothing even close to sibilant, nothing thin, nothing grating and piercing and certainly you won’t hear anything shrill. Just don’t expect open and airy and natural. Do expect a smooth and velvet like sound with meaty vocals and soothing female vocals.
Downsides to the midrange
Really quick, the midrange is sometimes presented as though the sound is in a canopy or inside of a box. Depending on the track of course. Oddly enough the sound grew on me and there is a resolving quality in its replay. Still, I feel like the low-end covers and filters out much of the air and separation. However, KBear was going for a dynamically bass induced sound, I’d say they nailed that part of it for sure. For the price and for the demographic I would wholeheartedly say that the Mids are probably right on target. Make no mistake though, this is not a high-fidelity sound that is detail oriented.
Treble
The treble region is emphasized to a degree, but the bass shelf sits atop the loudest portion of the treble range by a good 7-8 db’s (taken from the product graph). Anyways, this is simply not enough to add any real vitality and vivaciousness to the sound. The treble actually has some extension past 10k however it simply isn’t elevated to the degree that there is any uplift in the tonal color of the KW1. The pendulum never swings to the cooler side… at all. There is a lack of brilliance and shine as it feels like I’m missing some energy, dynamism, and timbral qualities within my music. In reality I’m just hearing a much calmer version, warmer and easier on the ears. I will say it over and over again that these qualities do not make this a bad sounding iem… Just different. It’s a warm lovers paradise. More on the treble
Again, the treble is completely non-offensive, completely safe, and 1000% peak-free which are both redeeming qualities. Sibilance won’t show through to annoy your senses and there isn’t that splashy type of treble which so often is the case around these prices. Now, whether those qualities are enough to sell you on the treble range of the KW1 is subjective to you. I hear a cleanliness to the sound that comes through on lesser complicated tracks up top, but it isn’t clean in a traditional sense. There is a clean outline to notes in this area, yet they come across slow on attack and decay a bit quicker. Also, there’s no graininess or artificial artifacts cluttering up the sound. That said, Treble Heads will want nothing to do with the KW1, at all. In fact, this set is the antithesis of what a treble head would go for.Safe and calm
The KW1 has a warm punch to the treble and good body to instrumentation with no abrasive roughness to the sound. Kinda like riding on a wave in an ocean of silk. Okay that may be going too far but you get the idea. Instruments like percussion don’t have that snappy pang or harmonic sparkle to them. Violin doesn’t have its abrasive zing and piano doesn’t have its dense ring. Basically, most secondary harmonics in this region are muted a bit. Still, there is fantastic body and presence which comes across as full sounding.Obviously, the instrument timbre isn’t really organic, but it does come across very easy to digest and listen to for long periods. It’s a safe treble throughout. I say all of that, but details can still be heard in the upper treble as there are some macro-details which show through. I do have to add though, if details are what you are purchasing this set for, well, you may not get the return on investment you may have otherwise imagined.
Downsides to the treble
I feel like I’ve laid it all out there already. The downside is that this is not a balanced sounding iem, in fact it’s not even V-shaped. This is a treble that can barely make it off the couch. Is that a downside? I suppose it all comes down to what you enjoy.
Technicalities
Soundstage
The soundstage is an intimate affair. Yet it’s also a full stage. I have sound all around my periphery. It’s sound which reaches high and low and stretches wide while the elements of a stage seem cupped around me, yet all of it sounds pretty close. So, to say it more concise… It’s big and full, but also intimate. Does that make sense? I hope so because there aren’t a whole lot of ways to say it. I will say this as a redeeming element to the stage of the KW1, the stage suits the tuning and nothing feels “off” or out of place to my ears.Separation / Imaging
Separation is one aspect of the KW1’s repertoire which isn’t as defined as one may like. Despite that, anyone purchasing the KW1 isn’t doing so because the separation of instrumentation is top notch. I don’t want to give the wrong impression though because separation of elements in an imaginary stage on the KW1 are also… Not bad. The problem is, in my opinion, the smooth nature of the sound and soft note definition seems to blend a little bit. There isn’t that clean and distinct definition which you could find on some more technically adept iems. Again, nobody purchasing the KW1 is worried about the separation of instrumentation. No sir. People buying the KW1 simply want to know that the bass’ll hit hard and deep while maintaining some aspect of musicality.Imaging on the other hand is quite good as the KW1 is able to partition off elements of a stage pretty well for the tuning. Left to right seems well placed and distinct enough as well as front to back instruments and voices. Yes, things do tend to have a blurry between the lines but the actual placement of where this Instruments take form sounds authentically reproduced.
Details
Details aren’t where the KW1 shines. That said, the KW1 does bring upon some semblance of macro-details within parts of the treble region. Of course, there is masking happening with a pumped-up bass and you simply will miss some of the minutiae within a song because of this fact. It’s that simple. Depending on the track you may or may not get decent details. On acoustic jams you will actually find the KW1 picks up even the finer details. Of course, there isn’t a whole lot of low-end in most acoustic songs. To contrast that, in more complicated tracks it sounds more like a mishmash of sounds to a degree.
Comparison
KBear Rosefinch ($24)
The KBear Rosefinch was a set that I reviewed earlier last year I believe (Rosefinch review here). To be perfectly honest there isn’t a whole lot sonically which differentiates the two sets. They sound remarkably similar. I do believe they serve the same audiences and demographics. Both L-shaped and both are basshead iems and both have that silky smooth warmth with nice note weight. I will make this fast because there isn’t much which sets these two apart.
Bass Region
The Rosefinch and the KW1 quite literally share almost identical bass regions. I would say that the KW1 is a bit tighter and also a bit heavier in the slam area. I find the Rosefinch to be a touch softer whereas the KW1 has just a little bit more rumble. The KW1 sounds a bit better textured as well.Midrange
The only difference I can find is the Rosefinch may be a hair more forward in the Midrange while the KW1 has the slightest of hairs better resolution. Both sets have a creamy sound on both male and female vocals and both sets do have a slight veil or blanket of warmth covering all the air in every track.Treble Region
The only difference I can find is the extension of the KW1’s treble is a bit better as I hear less attenuated info past 8k than on the Rosefinch. Perhaps the KW1 has slightly more snap to the treble but I’m splitting hairs. Truthfully, these two sound very similar in every regard to me.I chose the Rosefinch to compare with the KW1 because it is made by the same company, shares much of the same tuning philosophy and is a definite upgrade in terms of look and build. I find the Rosefinch to be more versatile in some respects as they have a detachable cable, whereas the KW1 has a fixed cable. Either set will quench any basshead thirst and either set is good for long listening sessions. I think the KW1 is a slight bit more resolving.
Is it worth the asking price?
Coming in at roughly $29 US the KBear KW1 has a pretty polarizing sound that one would likely either really enjoy, or really not enjoy. I’d say, for those who are only in this space and reading this review who enjoy a basshead style L-shaped sound then this set is well worth the price, without question. However, if you are into anything else then I’d say that the KW1 probably isn’t the set for you and maybe not worth the $29 asking price.Competition
You have to take into account the many competing iems which hover around the $20 to $35 price point. There are some very heavy hitters. The Kiwi Ears Cadenza (Cadenza Review), QKZ X-HBB (X-HBB review), the KZ D-Fi (KZ D-Fi review), KZ ZVX (KZ ZVX Review), Reecho SG-01 Ova, Astrotec Vesna Evo and that’s just to name a few. Yes I know there are many I forgot to name. Any of those sets that I just mentioned are around the same price point and will outperform the KW1 in almost every metric besides bass quantity and quality per the quantity. Those sets have a balance to them which simply outshines the KW1. Still, for those who enjoy pure bass and want to hear that bass in their feet then the KW1 is an easy recommendation at this price.The KW1 is really in a tough spot, but it actually has some great selling points. First, they are some of the prettiest looking bullet style earphones that I’ve ever seen. Second, the build is second to none with all wooden shells. In all truth they are almost a fashion statement. Third, the bass is done very well in terms of pure basshead style replay. On top of that the KW1 has a great cable and controls and even comes with a decent carrying case. Lastly, this sound is so soothing friends. It’s silky smooth to the core and has tremendous note weight and presence in that warmer setting. So, it’s a subjective question for you, the reader. This one could go either way.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the KBear KW1 ratings below, that would be $20-$35 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $20-$35 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable.Aesthetic
-Build Quality: 10.0-Design: 10.0
-Accessories: 9.5
Overall: 9.8
Sound Rating
-Timbre: 6.0-Bass: 9.9
-Midrange: 6.8
-Treble: 5.9
-Technicalities: 5.0
-Fun Factor: 9.7
Overall: 7.2
Conclusion
To conclude my full written review of the KBear KW1 I want to again thank KBear for providing this unique budget basshead iem in exchange for a feature at the website as well as a review. I also would like to thank you, the reader, for clicking the link. Every time that link gets activated it is good for the website, so I thank you very much. Please check out other thoughts on the KW1. We are all very much different and it will pay to read, listen or watch other perspectives regarding the KW1. Don’t simply count on my thoughts as I may have a wildly different take then the next guy. Also, we don’t all have the same libraries of music, likes and dislikes, even hearing abilities. It’ll help you out to make a more educated purchasing decision. Please stay as safe as possible and take care… God Bless.
kesobie
Awesome review man! As someone who loves to try different sound signatures, I can appreciate KBEar for catering to a more casual demographic as I found that many modern releases focus too much on having that "perfect balance" but loses out on the fun. I hope I get to try the KW1 soon! Keep up the good work, man!
Ceeluh7
Hey thank you for the kind words! You are 100% right, everything is after the balance anymore, which is fine but it's good to see some different signatures. Take care
KBear Ink Mk2
Review can also be found HERE
KBear Ink Mk2
Intro
Hello, this is my full written review of KBear’s latest under $100 budget offering, the “KBear Ink MK2” or “Ink2” as I’ll refer to it. I was able to review the OG KBear Ink (OG Ink Review) last year in 2022. There was actually quite a lot of buzz surrounding the original Ink as it took the general shape and design of the highly regarded KBear Believe as well as the KBear Diamond. Both sets were very popular, and while they had some issues, they were both considered good buys and both were considered unique for different reasons. As fate would have it the OG Ink simply didn’t live up to the older sets, or the moderate “hype” that it seemed to generate. There were some issues with the tuning and while it wasn’t a bad set it was simply surrounded by some great iems in the price point. Something I alluded to in my review at the time.In comes the KBear Ink Mk2. This latest Ink took the community by surprise as I posted some pictures and a little blurb about it on some Facebook groups, and nobody seemed to have a clue that it was real. In fact, I was told I was wrong at one point. The truth is, Ink Mk2 is very real, and I must say it is a refreshing take on the series. That said, at least aesthetically, one might mistake the Ink Mk2 with another set that I already mentioned… The Believe. I’ll explain more later but the faceplate is almost identical to the Believe’s faceplate.
KBear / TRI
KBear/TRI has been in this hobby for quite some time now and have truly cemented themselves into the lore of the Chi-fi universe, or thee… “Audioverse ” as I like to call it. They’ve come out with many very well-tuned and beloved iems over the years, and they continue to release iems at a fairly rapid pace. KBear’s sub brand “TRI”, the more luxury version of the brand, does seem to enjoy more success as the prices begin to rise past $100. However, the budget offerings from KBear do just very well, and even a few past that $100 barrier. Basically, KBear has a firm hand in the market and in my opinion a good KBear is good for the hobby.Thanks
I want to thank KBear for providing the Ink MK2 or “Ink2” (as I’ll call it for review purposes) for a full review and feature at Mobileaudiophile.com. I’ve not been asked to speak a certain way about this product, or asked to shed it in a positive light, and certainly wasn’t offered any money. Mad props to KBear as I can respect a company who has enough belief in their product to subject it to the scrutiny of a review. With that said, let’s take a close look at the KBear Ink Mk2…
Gear used
–Fiio UTWS5–Qudelix 5K
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
The KBear Ink MK2 comes in a longer rectangular box which is covered in a sleeve with a graphic of the honeycomb design as well as “Ink” written at the bottom. The unboxing is actually one of the better unboxing experiences under $75. Anyways, once you slide off the sleeve you are met with a much more class looking box with one solo KBear logo in the middle. Take the top lid off and you’ll see the carrying case as well as the tough looking Ink MK2 sitting pretty in a formed plastic tray. Next to the Ink2 earphones are two pairs of eartips. Inside the case you’ll also find the cable, the rest of the eartips, a nozzle cleaning tool and a microfiber cloth. Not a bad accessory list from KBear. Trust me I’ve seen far worse.
Carrying case
I’ve always liked the KBear cases, and we’ve seen this one before. It’s a solid built case which is covered in what feels like faux leather material. The color is like an orangish-brown color with the KBear logo imposed on the opening magnetic flap. As far as cases go the KBear case is one of the better ones you’ll see under $100. In fact, it is the same case provided with the KBear Believe and many others. Very elegant with nice stitching holding everything together. The case is just large enough to fit your earphones and perfect for putting in a bag. A felt internal liner protects your precious earphones as well and the magnet on the flap is actually strong. I don’t use cases usually, but I will likely find use this one. Nice addition KBear.
Eartips
What’s nicer than the case… is the eartips. Believe it or not. Well, I should specify that “for me” the eartips are the nicer of the two. The reason… KBear 07 tips BABY! Thank you KBear! The best tips in chifi (my humble opinion) are actually included. Also, yes KBear gives you an entire set. Granted, one pair is the extra small tips (Who wears those?) but I adore these tips as no other tip on earth fits me quite the same. Except of course the twenty knock off KBear 07 tips out there, but I digress. It’s a very nice addition. KBear 07’s usually add some punch to the low end without making anything muddy. They are semi-wide bore with very firm flanges and a very stiff inner bore. This all helps the sound to come across more open. The upper mids usually get a slight boost as well. In the package you also get some decent wide-bore tips (s, m, l), colored red and gray. They have a slightly flimsy flange, hard inner bore. Very nice tips as well and I will use them with another set down the road, I’m sure. Anyways, nice tips KBear.
Cable
The cable provided with the Ink2 is a Silver-Plated Copper Cable of pretty good quality. Comparable to a $15 upgrade cable I’d say. KBear makes nice cables as I have quite a few of them and the included cable is not bad at all. The included cable is an 8 core 26 awg, 5N Oxygen-Free SPC 2-Pin cable which ends in a 3.5 brass colored jack. The cable is glossy-looking black in color and looks pretty awesome with the Ink2. Now, for balanced listening I did swap it out for a blue colored Tripowin Zonie cable which pairs so very well aesthetically. It too is an SPC cable and terminates with a 4.4 jack. Truthfully, any 3.5 single ended listening that I I used the included cable as it looks tough, sounds just fine, and isn’t microphonic at all and very pliable and easy to deal with. Not bad.
Build / Design / Internals / Fit / Drivability
Build Quality
If any of you readers have ever put the KBear Believe in the palm of your hands than you know exactly how well the Ink2 is built. It’s beautiful friends! Built with fine materials and built very robust as well. The Shells are made from CNC aviation aluminum. Very sturdy and durable feeling. The faceplates are adorned in this deep blue which glistens within the carbon fiber design pattern and is covered in resin to provide a great look (more in the next section) and feel. The Ink Mk2 is one of the better builds in the price point for sure.
Design
Okay friends, I am on a sort of nostalgic little hype train at the moment as I adored the KBear Believe. Like a total Jack A&$, I sold them off a couple years ago. However, I’ve always wanted another set. I suppose the Ink2 will have to do. To be honest, there is very little which differentiates the two iems in terms of its design. The only difference is a deeper blue on the new Ink2 and a golden center logo on the faceplate rather than the silver logo on the Believe. Almost identical. This is not a bad thing. Anyways, the contrast of colors is designed so very well. The gold of the nozzle is sharply defined by the black of the Shells. The way the deep blue on the faceplates plays peek-a-boo with surrounding lights as you twirl them in your fingers is also so dope! Truly a nice-looking set. Great job.Internals
KBear decided upon using a 10mm DLC (Diamond-Like-coating) Dynamic Driver which is an upgraded version of the same driver used in the KBear Diamond, Ink, and the TRI X-HBB KAI. This diaphragm is said to be flatter than the others with less distortion in the upper regions of the mix.Drivability
The Ink2 is rated at 16 ohms with a sensitivity of 102 dbs which makes them a very nice earphone for driving with less powerful sources. Let’s put it this way, the Fiio UTWS5 (50 mw @32 ohms) drives the Ink2 with ease. So, you can only imagine how easily a setup like the Qudelix 5k does on balanced listening. Very well. Also, synergy with the 5k (ES9219C dac chip) is fantastic. There is obvious scaling as well. Stepping up to the slightly more powerful Ifi Go Blu was nice but the synergy with the 5k was better in my opinion.Dongles
Using a dongle dac should be fine and all you truly need. You certainly don’t need the dongle I used in the Moondrop Dawn 4.4. The Dawn is a very powerful little dac/amp and the way these two sings together is very nice with the Dawn’s CS43131 dac chip; they just seem to mesh well.DAPS
Stepping up to the Ibasso Dx240 I liken it to a Moondrop Dawn 4.4 on steroids. The iBasso DX240 uses a ES9038Pro dac chip and is bolstered by the Amp8 MK2 module. Truly a beast of a device which plays off of the Ink2’s warmer tonality beautifully. I also used the Shanling M6 Ultra quite a bit. The M6 Ultra has a slightly lusher and slightly more velvet sound which reacts well with the Ink2. However, I think I enjoyed the iBasso DX240 a bit more than the Shanling M6 Ultra in this case, but both sound fantastic. Thankfully, the Ink Mk2 reacts well to more power and does scale pretty nice which is something I could not say for the OG Ink. The sound becomes better separated, more engrossing bass replay and a perceivably wider stage. Of course, we are talking about incremental changes folks. However, they are changes, nonetheless.For the average listener who simply wants to enjoy the Ink Mk2 and doesn’t have the funds for a Dap; all you need is a decently powered dongle dac. You really don’t need anything super powerful as the Ink Mk2 is pretty easy to drive and really doesn’t take much to bring to good fidelity.
Sound Impressions
*Note: prior to critical listening I made sure to burn the KBear Ink MK2 in for a total of about 75 hours. All. Of my listening was done using flac files stored on my devices. The majority of my critical listening was done using the iBasso DX240, Shanling M6 Ultra, or the Moondrop Dawn 4.4. Ya know, the original Ink was so close. They just had some flaws in the tuning that simply kicked them out of contention from being a true consideration against the rest of the iems under $75. KBear seemed to embark on a quest to right that wrong with the MK2. For all intents and purposes, I do believe that they succeeded. The sound is much easier to digest. The OG Ink had some pretty harsh upper mids that brought on quite a bit of glare, as well as the highs were pretty sharp. If one wanted, they could modify the original to a decently nice sound, but that’s for another post. The Ink MK2 is a definite upgrade, no doubt about it. Now, does the Ink2 stand strong against some of the monsters in the price point? That is a question of subjectivity I believe.
Sound
The Ink2 most certainly has a V-shaped even possibly Harman type sound signature with an emphasis in the low-end, particularly the sub-bass. They have a boosted upper-midrange and an emphasized treble region. The tonal color is what I call warmish-neutral, with a warmer low-end and a brighter top-end. The bass hits hard and does so efficiently. Basically, the bass is tight for its size. The mids are slightly recessed yet still is able to create a nice stage presence listening to my library of test tracks. Vocals are distinct for being pushed a hair back. The bass doesn’t muddy the waters at all as the mid-bass doesn’t add any real detrimental bloat and drops off at a good place in the mix. The treble region definitely has an emphasis, yet the frequency caps out at the pinna gain area in the upper mids and lower treble and slowly descends through the upper treble with nice extension. The Ink2 provides a nice technical performance for a fun sounding single DD in this price point. Details are decently illuminated in the treble and the midrange for what the Ink MK2 is.
Bass Region
One aspect of the Ink MK2 which I think has been tidied up a bit has been the bass region. What we have now is a slightly cleaner bass with better textures to the sound. The bass region has nice density. To me, the bass region is the selling point if the Ink2. The greatest majority of emphasis lies in the sub-bass, but the mid-bass is not without representation. The bass is not wooly, one noted, or hollow, and actually comes across with pretty nice transient behavior. The leading edge on the attack has a bite to it which is nice and there is more of an atmospheric decay. I wouldn’t call it “long and drawn-out” but enough to sound realistic. Honestly this is a fun bass which comes in just under basshead in my opinion.Sub-bass
The sub-bass has good extension into the lowest of lows as it owns the majority of low-end priority. There is a nicely deep and haptic drone when called upon. In the song “Paradigm” by The Head and Heart the song begins with a gnarly bassline which is great for checking out just how much of that tactile buzz your earphones can manage. In the case of the Ink2 I hear a very deeply weighted and textured replay of this song. The bass as a whole is pretty composed and not too overpowering, so not to veil the spectrum. With the emphasis in the sub-bass, it allows for the “feels” down low and still enough slam in the mid-bass while it frees up the midrange a bit.Mid-bass
The mid bass has sufficient slam as evidenced in “Humble Beginnings” by Bazzi. The bass drops roughly ten seconds into the song and the Ink handles it with a clean and forceful boom. “Groove” by Ray Wylie Hubbard starts off right away with a grizzly and dirty sounding bass guitar riff which sets the tone for the song and man the Ink2 resonates with this track. One could say it… Grooves. Sorry. There is a crispness to the note edge while having very nice solidity or tactile mass. Just as it should sound in my opinion. Perhaps a bit of coloration, but never overdone as the timbre sounds nice in this region for a fun iem. What these tracks show is that the Ink2 can BANG! Not in a wooly way and not in a way that is too slow or muddy. It’s a big bass, it’s a clean bass and it’ll get your feet moving.All in all, the bass most certainly has some heft to it which adds a dynamic touch to the overall sound of the Ink2. The bass region carries with it some authority and keeps things pretty tight per its quantity yet remaining atmospheric. This is perfect for genres which require more oomph to the low-end. Like I’ve stated, the bass doesn’t really ever “muddy the waters” so to speak. Despite that I’m sure there will be those who view this amount of low-end activity as a con. Obviously on bass heavy tracks there will be some masking of other frequencies but the actual bass itself has a nicely concrete sound with decent note definition. In true “Believe” fashion, yet please don’t be confused, the two are not equals in this area.
Downsides to the Bass Region
The con with this bass is that it will likely be too much for some hobbyists. Let’s be honest, this bass is meant to be fun… and that’s it. KBear isn’t trying to sell the Ink2 as an ultra-resolving iem with loads of details. This is a line of iems which was made for one reason and that’s to move your feet and make your head bob in enjoyment. Still, this will not be for the lean and tight bass lovers out there.
Midrange
The midrange has a somewhat musical nature to it. Coming off the OG Ink I think that KBear certainly made improvements. The biggest improvement I’ve seen is in the overall ease of listening, as the OG was pretty peaky and sibilant. Granted the new Ink2 does peak out a little but to a much lesser degree. Timbre is better as well. The midrange has a nice crispness in some scenarios yet is pretty smooth at times too. I wouldn’t call the midrange the strong suit of the Ink2 either. It’s recessed a bit but vocals and instrumentation still have plenty of presence within the stage.I find the midrange to have adequate note weight, though in some areas there is some thinness depending on the singer and track. It isn’t for those who enjoy a lusher and warmer midrange. KBear did a nice job by not drawing such a focus to this area of the mix. Vocalists and instruments are not so far forward that they’re in your face. Truthfully, I think the Ink2 is tastefully done without any weird grain or digital sounding artifacts in my music. Personally, I enjoy a midrange that is a hint closer and more vivid, but all things considered I’m not missing much.
Low-mids
The lower midrange presents male vocals as slightly warm with a moderate note weight. With that said, I hear a crisp male vocal with pretty good note definition. Resolution is about average I’d say (whatever that means), yet there is some nice separation of elements in this region. Baritones like Avi Kaplan sound slightly laid back in the track “First Place I Go“. He does have a nice reverb to his voice, and it comes across dense and resonant with a smoother articulation to the rise and fall of his vocals. Higher pitch male singers like The Avett Brothers in the track “Morning Song” on the other hand sound rather crisp, clean and with good clarity. The surrounding instrumentation rounds out the stage with a decently detailed representation of strings and percussion while having a nice imaging of the stage.Listening to “The Gambler” by Home Free (Acapella group) sounds fantastic on the Ink2 with clean cut vocals and a somewhat 3D-like stereo image. Each male voice seems. well outlined, as if a knife edge creates the distinction. Of course, some of this is due to the recording, but the Ink2 still has to pull it off. Each male voice sounds nice on this track, and you do get a taste for every type of male singer on “The Gambler”. Tracks without a lot of confusion with nicely spaced vocalists sound great in the Ink2. “The Alabama Moon” by Drayton Farley is a track which plays very well on the Ink2 as his voice is very distinct and separated from the acoustic guitar which plays alongside. His voice is a bit thin but also there’s a vibrance to it. In more congested tracks the resolution gets a bit more blurred, but we should expect such things at this price.
Upper-Midrange
The upper mids appear to be decently energetic and only slightly pronounced, yet also not really recessed either. I certainly wouldn’t call them forward, though there is some shimmer and sparkle. I find females to be a pinch thin. Please don’t confuse this with sounding bad either. Females don’t sound bad on the Ink Mk2, but they do sound ‘polite’… even with the emphasis. I wouldn’t call them bodied or lush, but I would call them svelte, thin just sounds… ‘frail’ to me. However, in that thinner profile I also hear a crisp sound with good vivaciousness when called upon. Not really natural, I would instead call them “off-natural”. Kinda like what “off-white” is to white. Nothing which is a con in my book as far as timbre goes.In the song “High” by Caitlyn Smith, this woman absolutely shows her vocal prowess. Listening with the Ink2, at the 48 second mark she gets ‘ever-so-slightly’ lost in the surrounding melody when the breakout chorus erupts. Other than that, she sounds very expressive and accentuated along with the rest of the instruments.
Part to a whole
The midrange is certainly not the focal point of the Ink2. The midrange almost sounds like a part to a whole that is neither too overshadowed nor highlighted. Still, there are some tracks in which vocals seem to stand out a slight bit more on the Ink2. Songs like “Honey” by John Legend or “Black Mascara” by Raye to name a couple. However, vocals react the best on acoustic tracks on the Ink2. There are also songs where resolution takes a hit. Tracks with more congestion, songs with big and proud electric guitars and beefy kick drums blaring away can melt the sound together a bit. This shouldn’t be a deterrent as many iems have similar issues or shortcomings. The bonus is that I don’t hear any definitive sibilance, or any real timbre issues, and for the most part the Ink2 sounds pretty melodic. Well done KBear.Downsides in the Midrange
There are some slight subjective issues with the midrange. I hesitate to call them issues as they are simply preference qualities which some may not prefer. The midrange isn’t the most energetic or foregrounded and basically is not a vocal-centric iem and certainly not a mid-centric iem, so keep that in mind. The midrange is a bit withdrawn and even slightly thin as well. Also, this isn’t the most detailed midrange sound I’ve ever heard. All in all, it isn’t bad.
Treble Region
The treble has a healthy boost to it and can become a little peaky if presented with the right track or recording but for the most part it is held well in check. Honestly, for the most part I find the treble to be pretty prominent with some brilliance to it. Though it isn’t the most refined treble I’ve ever heard, it also isn’t smeared or sheened-out in treble mess. It’s actually pretty clean (for the price) and separated with some nice body to instrumentation. Being this is a V-shaped sound with an emphasized upper 3rd of the mix the treble does pick up some details along the way as well. I wouldn’t call it a robust treble but there is body to the sound with adequate treble punch.I found the extension into the highest of highs to be nicely panned-out on the Ink2. The secondary harmonics of a cymbal strike are pretty clear and not too splashy, and they decay rapidly enough. In fact, the transient attack/decay up top can be nimble at times. Take the track “Secrets” by Billy Strings. The Ukulele, Mandolin and Guitar work is absolutely rapid fire from the jump and the Ink2 sounds pretty capable to handle this type of track. Billy and his band are so very talented and create these mellifluous melodies that ting along at breakneck speeds at times. I find that not every set can replay this track perfectly. Not that the Ink2 plays it “perfectly”, but it does the job, and it doesn’t sound like congestion.
Nothing annoying
I didn’t notice any annoying sibilance or, like I stated… anything really sheened-out in treble glare. What I mean by that is anything shrill or any ultra bright mishmash of shine that makes you turn your volume down. Can they get bright? You betcha. There are some tracks which bring this on easier than others but for the most part what the treble really adds is “some” levity to an otherwise pretty fun sound. The treble contrasts the low-end in a way that evens out the spectrum. The Ink2 is a nicely tuned V-shaped iem in my opinion.Downsides of the Treble Region
Listen, we know what we are getting from the Ink gen 2 by this point… Right? Honestly, the treble region is actually pretty well done for a single DD with a V-shaped sound signature. I would say that the treble can be a hair thin and possibly too bright for someone who is treble sensitive.
Technicalities
Soundstage
The stage size is not the selling point of the Ink MK2. The width of the stage is narrower in my head space compared to other similarly priced iems. Despite that, the height and the depth of the sound field is only about average. I definitely wouldn’t call the stage size a reason to stay away, but it simply isn’t this “big experience” like some sets can surprise you with. In spite of that I should add that the size of the stage seems full to me. As though the macro-dynamics present on the Ink2 are enough to provide a full experience inside of the narrower psycho-acoustic stage. Also, my music sounds just fine on this set.Separation / Imaging
Like I’ve said a few times in this review, the separation of instrumentation as well as voices is not bad providing the track isn’t too congested. The truth is that the Ink2 actually separates and partitions off elements of the stage nicely for a V-shaped tuning. Imaging also sounds good. I found left to right imaging is spot on, as it should be, but front to back depth isn’t as obvious. All things considered, the Ink2 are actually quite nice in this regard. Things do become a bit masked over in congested tracks or songs with more of a beefy low-end I’ve noticed; however, this should be expected.Details
The Ink2 isn’t the most resolving iem out there, nor was it tuned to be. This was made to be a fun & dynamically charged iem tuned to be musical and compete with other V-shaped iems under $75. The Ink Mk2 was not tuned to be a detail monster which can resolve the tiniest of subtleties but rather provide a pretty clean and controlled newer take on this lineup of iems. It wasn’t made for anything but jamming out with a smile on your face. Nor should any of you expect it to be anything else. The bass is bigger, single DD, again it’s V-shaped, not the most resolving either and so we should temper expectations. With that said I do think that the Ink MK2 does just fine for what it is.
Comparisons
KBear Ink OG ($69)
The OG KBear Ink was released sometime last year, and I was able to spend some quality time with the OG Ink for a Review. This was an exciting release for me as I adored the lineup of past KBear iems starting with the KBear Believe. However, I couldn’t give the OG Ink the best marks as it did have some tuning issues that were hard to get past for me. The Ink houses an 8.8 DLC single Dynamic Driver and uses basically the same shell footprint yet with a different design. They are both very nice looking iems.
Bass Region
There isn’t any huge difference in this region between the two KBear brothers. The biggest difference to me is the speed of the new Ink MK2 seems perceivably quicker and the new Ink MK2 has a bit more in quantity than the previous Ink. I found the OG Ink to simply to be a bit fuzzier on note edges but both sets offer a very nice bass response.Midrange
This is where we begin to see some real evident changes which are for the better on the new Ink2. The previous Ink was overly boosted in the upper midrange to lower treble area which made listening to the Ink a painful experience on the right tracks. Looking at the graph comparison I can promise you that it is a liar. It appears that the level around 3k has dropped only slightly on the new Ink2 but in reality, there is a big difference to me. Kbear took the edge off. They did this in a couple ways. First, they boosted the bass which almost drew focus away from the glare but also, they brought that 3k down to manageable levels. Other than that, note weight for male vocals and female vocals has more substance and is a bit thicker and cleaner. The new Ink is a nice midrange upgrade from the old in my opinion.Treble Region
Another slight upgrade lies in the treble region. The new Ink2 has a more detailed approach, if you want to call it that. There is a bit more treble punch, but it isn’t super noticeable. Also, anyone purchasing the Ink2 who previously owned the Ink OG will likely not be purchasing this set for its ability to resolve details. However, there is also much less sibilance on the new Ink2. To the point that it isn’t even noticeable to me.All things considered this isn’t even close friends. The latest Ink MK2 is a certain upgrade from the original. This is one instance where the company listened to feedback and delivered. This actually should have been what the OG Ink should have been in the first place.
TRI X-HBB KAI ($75)
The TRI X-HBB Kai was a collaboration between the Hawaiian Bad Boy from “Bad Guy Good Audio Reviews” of YouTube fame. Truly one of the slickest looking iems in some time and certainly in the price point. The Gold-on-Blue is SICK LOOKING! I really enjoy the Kai and think it is massively underrated for what it is. The Kai employs a 3rd generation Single 9.8mm DLC Dynamic Driver. I never got to review this handsome set as I had too many reviews pop up at the same time and simply couldn’t. However, my partner Mahir at Mobileaudiophile.com was able to review and you can see that HERE. These two are different in a few ways but they both have a fun signature, and both are built exceptionally well and look flat-out awesome.
The Kai comes across with a warmer tonality anf the Ink2 quit a bit brighter due to the rise in the upper frequencies. Both sets are V-shaped to a degree, and both have a fun signature. Note weight is lusher and fuller on the Kai but the Ink2 seems to have better detail retrieval.
Bass Region
This is another funny graph situation. The graph would tell you that the Ink MK2 offers quite a lot more in quantity compared to the Kai. Despite that, in real world listening this simply isn’t the case. In fact, I hear just as dense a rumble on the Kai as I do the Ink2. In fact, they are very much comparable. Possibly the new Ink has a slightly tighter bass, but the difference is not something you’d spot in casual listening. Which, I’m assuming is all anyone will do with either of these two V-shaped iems.Midrange
Male vocals come across less pushed back on the Kai with a more distinct presence and a warmer hue when listening to male vocals. Just a little bit cleaner of a male vocal to my ears. As far as females are concerned the Ink MK2 has quite a bit more shimmer and has a lot more luster to females. They are brighter but also more resolving. The Kai stays a bit more laid back though they have a lusher sound with better note body. The Kai has a smoother sound through the whole of the midrange whereas the Ink MK2 is a bit crisper and better defined. I’d say for vocals the Kai sounds more organic to my ears.Treble region
This is a place where the graph is most definitely NOT lying. The Kai has noticeably less of an emphasis compared to the Ink MK2. The Kai is much less fatiguing but also much less exciting up top. Also, the new Ink MK2 has a more explicitly detailed sound by comparison. This is to take nothing away from the Kai, at all. These two simply are tuned different from each other. The Kai is made for long listening sessions and sounds great while the Ink MK2 has the brighter treble with a more uplifted sound overall.This is a preference battle between these two. Basically, if you enjoy a warmer and smoother sound with a fun side you may be partial to the Kai. Or do you prefer a more sprightly, more energetic and fun sound? If so, then maybe the Ink Mk2 will align closer to your preferences. Both are enjoyable, but both sets have different takes on what “enjoyable” sounds like.
Simgot EA500 ($69)
One of my favorite iems at any price is the Simgot EA500. This is really not very fair as I am stacking the Ink MK2 against one of the best sets under $100, let alone under $75. My review of the EA500 is HERE. Just a phenomenal iem and a stellar performer who gets top marks in its price point. Maybe. The EA500 comes equipped with a Dual Cavity, Dual-Magnet, 10mm 4th gen DLC Single Dynamic Driver. It’s built like a tank, a gorgeous one at that and sounds very close to neutral in tonality with natural timbre.
Differences
The differences between the Ink2 and the EA500 are pretty large. In fact, both of these sets serve a different fan base, possibly different genres of music yet both do very well with their respective tuning. One looks more mature and classier and the other looks a little bit more badass and cooler. Take your pick and choose your preferred tuning. Do you like balanced, neutral and clean, or fun, bassy and dynamic. I can tell you right away that both sets offer a nice budget look at both styles of listening. The relevance as a comparison is mostly due to the price and the fact that they are both single DD’s. Honestly, these two couldn’t be more different but I suppose it can only help in comparing the two.Bass Region
Starting off with the bass I can hear a much greater emphasis on the Ink2. The bass hits much harder on the Ink2 with a much deeper haptic drone and buzz down low. Also, there is much more slam on the new Ink2, and I’d venture to say that bassheads will gravitate much easier to the Ink2. That said, the EA500 has a more quality low-end with a punchier sound while still giving a good rumble in the process. It’s just toned down to allow other frequencies to thrive a bit more. The EA500 has better surface texture to the sound with better macro-details. Pick your poison down low friends, both sets offer different approaches to the bass, and both do a very nice job at that.Midrange
The EA500 is simply cleaner, in all facets of the midrange. The Ink2 has a thicker note weight to a slight degree, but the EA500 comes across more resolving, more present, precise, and more balanced and structured. I’d say the midrange is one of the EA500’s strong points and between the two it sits more forward in the stage and has a more realistic timbre. I do hear a bit more shimmer and sparkle listening to the Ink2’s upper midrange. Besides that, the EA500 has better separation, imaging, details, and is more realistic sounding to me.Treble Region
The Ink2 certainly has a more uplifted treble, but the EA500 is more even and better controlled. Let’s not forget, these are both tuned differently and are actually not the easiest to compare as they both serve different listening styles. That said, the EA500 has the punchier treble, smooth yet crispy and technically more adept at bringing the smaller details to the forefront. I have to give the nod to the Ink2 in the area of treble extension though. I do hear a bit more info up top, but it isn’t some great deficit. Of course, a lot depends on what type of tracks you are listening to. Bass heavy tracks do cover some of the info in the highest of highs but mostly the Ink2 seems to illuminate the upper treble region a bit better.The Ink2 has a much brighter and thinner treble region which some may say is a tad forced in comparison. There is a huge rise on the Ink2 around 2k to 7k. We are looking at a big difference which makes a huge impact on your listening experience. Certain instruments sound less natural on the Ink2 as well. The EA500 is simply more of a neutral and balanced sound whereas the Ink2 has a lot of coloration with quite a bit more treble sparkle.
All things considered
Welp, there you have it. This may not have been fair. First, I’m comparing the Ink2 against a set with a totally different tuning and with a set that is widely considered one of the best under $100. Still, I would say the Ink2 is possibly the more fun iem with bigger and deeper bass which does wonders for bass heavy tracks and genres whereas the EA500 simply cannot compete in this area. You could make an argument that the Ink MK2 offers a better fit as well as a more comfortable fit. One could also make the case that the Ink MK2 is the better looking of the two. So, there are upsides and downsides to everything, and I hope this helps explain the Ink2 at least a little bit.
Is it worth the asking price?
This is the million-dollar question, or rather the $69 question. Is the Ink MK2 worth the asking price of $69? The short answer is maybe. The tuning has to agree with you and lately we’ve seen the audio world moving closer to a neutral and balanced sound. This is more old school, bassy and fun. Still, it is a nicely tuned set for those who enjoy a more traditionally popular sound. So, if you are someone who digs that dynamic V-shaped sound then I’d say without question the Ink2 is worth every penny. Really, for a … the Ink Mk2 is tuned very well. So, the answer to this question relies on you, the buyer.Redeeming qualities
I will say that there are certainly some very well-done sets within the same price point which will compete very well against the KBear Ink MK2. I will not list them all but there are some which also offer a bigger V-shaped sound with loads of bass and a big rise up top. Nevertheless, the Ink Mk2 has some very redeeming qualities. It is built exceptionally and is truly one of the dopest looking iems. On top of that, the Ink2 is accessorized very well with a nice selection of tips, a classy and fine looking KBear case and a nice cable for the price. The bass is tight, deep, impactful, clean for its size and very well done. The mids aren’t pushed back as far as most V-shaped sets and the treble is actually pretty clean and adds nice levity throughout the mix while playing off the bass very well. Add in the sound is mostly non-offensive and the Ink2 is very easy to drive. Honestly it is a very nice set for anyone jumping down the rabbit hole.Good reasons to buy
Again, the answer lies with you. I think that the Ink2 does everything pretty darn well and you won’t be let down so long as a few parameters are met, which I already outlined. For me, I think with all that you get… it’s a no brainer. Now there are sets at a lesser price which do compete tuning wise and can get you that fun sound but yet build quality is nowhere near the Ink2. Not to mention the looks department as the Ink2 looks flat-out dope. In truth, the Ink2 is almost a fashion statement, it is bonkers how solid and nice they feel in hand and how cool they look in my ears. My son already asked if he could have them. I was wondering why he was staring at my ears. So, if I was putting my money down on a $55 iem with a horrible cable, and a chinsy build, with less accessories I could definitely see myself forking out the extra $20 for something which more aligns with my particular taste. That said, there are some fantastic iems under the price of the Ink Mk2 that perform very well against it.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the KBear Ink Mk2 ratings below, that would be $50-$75 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $50-$75 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable.Aesthetic
-Build Quality: 9.9-Design: 9.8
-Accessories: 9.9
Overall: 9.9
Sound Rating
-Timbre: 8.5-Bass: 9.5
-Midrange: 7.2
-Treble: 8.4
-Technicalities: 8.2
-Fun Factor: 9.2
Overall: 8.5
Conclusion
To conclude my full review of a very solid iem within its price point I want to again thank KBear for their kindness. They have never asked me to twist my words or say something that I don’t honestly believe and for that they have my respect. They have also never offered me a dime for my reviews which is good to see. Truly they have done well with this set and created an iem which boasts a very fun sound, built like a champ and will look fly in your ears moving throughout town.Also, please! Do yourself a favor and check out other reviews from people that align with your listening style and possibly from some people who don’t. It’s always better to get a good understanding about a product before you shell over $70 for an iem. I’m guessing here but I’d say that the majority of hobbyists consider $70 a lot of money. Not everyone has the funds for something like a hobby. Most people are simply trying to feed their families and so this purchase matters quite a lot that they get it right.
Other perspectives
Again, check out other thoughts, not just mine. Yes, I give you my exact feelings towards every product which graces my ears but not everyone agrees with me. That’s just life. We all have different likes and dislikes, we have different gear, even different abilities to actually hear the music. However, most importantly to me is that not everyone has been down the same audio journey.Thank you for reading my thoughts, writing these little blurbs about audio devices is a joy for me, it’s therapeutic as well and I get to talk about one of the best hobbies… of all hobbies. I think most of us can agree to that. So, thank you and please take good care.
Review can also be found HERE
KZ AS24 "Tunable Version" Review
KZ AS24 “Tunable Version” ($112)
Intro
Hello, this is my full review of KZ’s latest all BA iem… The KZ AS24 “Tunable Version”. KZ created both a Standard Version as well as a Tunable Version which employs tuning switches, similar to what they had done with the KZ D-Fi. Only the AS24 has EIGHT OF THEM! The AS24 is actually the successor to last year’s AS16 Pro which had some mixed reviews. As for myself I really enjoyed the AS16 Pro, and frankly still do (AS16 Pro Review) as it has a very dynamic and forwardly energetic sound. It wasn’t the cookie cutter tuning and complimented my collection well. To be perfectly honest I was more than surprised to see the AS24 arrive at my door. Many thanks go out to Tyvan Lam as well as KZ for providing this all-BA set for a full review and feature at Mobileaudiophile.com.Rapid fire beasts
I don’t have to mention it, but it bears repeating that KZ has been on an absolute tear through the budget sector. From $12 to $50 they have owned the budget space. However, the AS24 just crests over the $100 price barrier, which hasn’t really worked in KZ’s favor in the past. I also don’t have to mention the absolute beasts which reside in this price point. The $100 space is absolutely chock full of fantastic iems. Still, as far as budget sets are concerned, and for the sake of this review, I will remind some of the readers that the KZ EDXS, KZ ZVX, KZ D-Fi and the KZ X-HBB PR2 have all been phenomenal in their respective price points, my opinion. I will also remind everyone that each of these sets have come out at a rapid-fire pace. So, KZ has been hot and it’s no wonder that they decided to try to keep this streak alive and release the AS24. Heck, they even waited a couple weeks. Things are looking good for KZ, let’s see how they did on the latest KZ AS24 Tuning Version, and is the AS24 asking price worth it? I can at least answer this for myself and hopefully it is of some help to some of you…KZ AS24 purchase link: KZ AS24
Full review: HERE
Gear used for testing
–Ifi Go Blu
–Moondrop Dawn 4.4
–IBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
The AS24 arrived at my home unannounced, which was a great surprise. It arrived in an unassuming and rather refreshing simple black box with a glossy KZ logo imprinted in the center. As always you have some specs on the back as well. Inside the box KZ added the eartips, cable and a switch pin tool. You get no carrying case which I would’ve liked to see but if the money all goes into the earphones, I’m fine with that. Plus, I lied, I could care less about a carrying case. Just create the best earphones for the money.
Cable
The cable is the same cable that we’ve seen for countless KZ sets. Now, this really should have been a nicer cable. Really. If you are paying over $100 for a set of earphones than you shouldn’t be getting the same cable as the one provided with the $12 EDXS. Upgrade cables can be found at $10 that would be a nice upgrade to the cable provided. However, with that said I’m not complaining, it’s simply a “con” in my book. It wouldn’t be anything which would keep me from purchasing the AS24. The provided cable is a 3.5 single ended Silver-Plated Copper wire with an opaque colorway and a right angle 3.5 jack. Same as all the others. I of course swapped cables right away for a balanced cable and the one I’m using is a beautiful white 16 core Fedai SPC cable that looks absolutely perfect alongside the AS24.
Truthfully, if you simply cannot spend another dime on your audio gear then the included cable works perfectly fine. There truly is no real sonic benefit from upgrading. Obviously if you listen on balanced sources then you must upgrade to a balanced cable but other than that it isn’t a must to swap it out.
Upgrade that cable!
I would like to offer some advice to KZ and really to any earphone maker. Cables matter! A nice cable is the icing on the cake and brings an earphone to another level. I really mean this. It doesn’t cost much for a nicer type of upgrade cable and to me a nice thick cable shows that you mean business. Using the same KZ opaque cable seems much more like a “budget-oriented” company is just trying their hand at the more expensive target demographic. I promise, if a nice aesthetically pleasing cable was packaged with the AS24 it would really take it to the next level. My Father always would tell me on the football field “Son, act like you’ve been there!!”. The same sentiment can be said for this situation. I realize that it may be a money saving tactic and yes, many people simply purchase their own upgrade cables but even TRN adds in finer modular cables with their under $50 iems. Despite this little blurb, I don’t think it’s the biggest deal and for what you are getting with the earphones themselves…I suppose it’s fine.Eartips
The eartips that you will find wrapped up in those annoying white baggies are some of my all-time favorite eartips… The KZ Starlines tips! KZ added three pairs (s, m, l) as well as one medium sized pair of foam tips. I love seeing these and I get a tiny little blip of joy course through my audio dork heart. Starlines are firm-flanged and tacky enough to seal and most importantly they are comfortable for me. So, I did not tip roll with the AS24 and used the Starlines. I should add that I did have to use a size smaller than usual with the AS24 as the nozzle length is a bit longer which required smaller tips to fit snuggly. This will likely be the same for you.
Build / Design / Internals / Fit / Drivability
Build Quality
As far as build is concerned, the AS24 is crafted with seemingly quality materials of construction. The Shells were actually 3D printed with a “new generation DLP 3D printing technology” which is good for a very detailed design such as the AS24. The lower shell chamber has a complicated tubed design which is very involved as you can see the intricate system of 3D printed tubes all converging internally to the nozzle from each of the drivers. Really very cool looking in my opinion and very well laid out.The Faceplate has what KZ refers to as a “Sparkling Diamond Cut Bracket”. Obviously, this is not an actual diamond, or even cut from anything formed from the Earth, but instead it is an ornately designed and very hard type plastic (I’m assuming) which is held together by an Aluminum cover. If you look at the back side of the Shells, you’ll see the “main tuner” switch panel, and if you rotate to the bottom, you’ll notice the “auxiliary” switch panel. To be honest I think this is one of the best builds that KZ has ever put together. Everything feels very robust and solid in hand. Nothing chinsy or cheap feeling here. As always you get QDC style female 2-Pin connectors as in all KZ iems. All in all, the build is rather good, no issues to note.
They’re Big
One more thing, the AS24 is a large set of earphones, obviously they have to be larger to accommodate TWELVE BA Drivers per earphone as well as 3D printed sound tubes etc. Please keep this in mind before purchasing. On top of that, the insertion depth of the nozzle is also longer than most and so take that into account. I would say that the AS24 is about the same in nozzle length to the As16 Pro, if that helps. However, for myself the size is great, and it fits like a glove.
Design
The design may not be for everyone. Perhaps the AS24 design leans a bit effeminate but I think they can honestly go either way and look pretty nice. The Diamond looking faceplate is a dope touch with the aluminum cover adding a sleek contrast as well. Again, not everyone will jive with the look of the AS24, but I do think the greatest majority of hobbyists will appreciate the overall aesthetic and design. I actually think they look sweet, fresh and different from other sets which are out there, but I’m not everyone else. I do like being able to see all of the tech housed within as KZ did a remarkable job placing the drivers exactly so tightly, which is very neat. Truthfully, the AS24 has a different look, slightly blingy but not overtly so. I honestly think this is one of the better designed sets in the price point.
Internals
This is where we begin to get into the meat of the AS24. First off, the AS24 comes equipped with a whopping twelve Balanced Armature Drivers, each covering different parts of the frequency range. One thing to point out is that KZ made some adjustments in their design of some of the BA’s housed within the AS24. As far as I know the low-end BA “22955” as well as their “29689” BAs went through a restructuring of the “reed” from the old style to a new “Trident reed” which centers it between the magnets better. It’s proposed that this restructuring will provide better transient response, enhance sound density and reduce distortion. Also, like I mentioned earlier, the entire sound cavity has been intricately 3D printed to allow tubes for each Balanced Armature.
Tuning Switches
One thing which caught me wholly off-guard was the fact that the AS24 has an astounding 8 switches. This drew some ire from some hobbyists yet there were many who were elated. I simply saw it as daunting thinking I’d have to review so many variations. Thankfully KZ has made it pretty easy on me as the principle behind the switches is fairly easy to understand. It’s honestly easier to explain with the product picture:
What do the switches do?
So, as you can see the switches are really more of a progression of certain frequencies. You have a “Main Tuner” which controls overall sensitivity with switch #1 and the rest of the three switches are simply one decibel progressions of the entire bass region between 20hz to 200hz. The Main Tuner Switch Pad can give you an overall increase of sensitivity as well as a three decibel rise of the entire bass region. Or whatever suits your listening style.The switch pad located at the bottom of each earphone is called the “Auxiliary Tuner”. The auxiliary tuner provides increases in the midrange and the lower treble region between 500hz to 2khz. To break it down, the first two switches have an increase of one decibel per switch #1 & #2. Switch #3 & #4 operates the upper treble and increases it two decibels per switch in the 8khz to 20khz region.
Pretty simple
So, as you can see the switches have a logical progression which is simple to follow. It was mentioned in different audio groups that there are “256 different variations!!“… when in reality it is much simpler than that. It only looks crazy my friends. To be totally honest I think that KZ handled having 8 switches very well. As for myself, I enjoy all switches down (0000/0000) or (1110/1000) a couple bass switches raised as well as the full spectrum raised and just a spike of midrange to liven things up.One thing that I have to mention is that the switches are some of the most difficult to operate in terms of “ease of use”. Meaning, the switches are damn tiny! You have to concentrate to make sure the pin tool has a bite on the switches before pushing them on or off. Not really an issue but something to note. It would have been nice for a slightly longer switch that wasn’t as difficult to actually operate. Also, the switch pads themselves are rather small. I suppose I understand why they are so small, but it should be noted. In truth, it isn’t a big deal. However, once you get your sound dialed in it is likely that you won’t touch the switches much afterwards.
Just so the reader is aware, I will refer to switches in this way. On= 1 and off= 0. So, all down on both switches would be “0000/0000”. The first set being the main tuner and the second being the auxiliary. All on would be “1111/1111”. Simple enough?
Fit
The fit may be a problem for some, but I can say with assurance that the AS24 fit me very well. Of course, the nozzle is a bit longer and so I did have to size down my tips for a deeper insertion. Perhaps, smaller ears may have a slightly bigger problem as the size of the AS24 is a larger iem. Now, once I got my tips right, I had zero issues whatsoever with fit. In fact, the AS24 fit so snug that they really block out a considerable amount of ambient noise. More so than most iems. Also, there is almost zero sound leakage from the AS24. Fit is obviously a supremely subjective and personal experience… me relaying to you how they fit me doesn’t do you much justice. That said, the fit is nice.Drivability
Now we come to the section of the review where we discuss briefly what it takes to drive the AS24. In my opinion I think that all you really need is a nice dongle dac and you’re in business. Really it doesn’t take much. The AS24 “Tunable Version” is rated at 20-50 ohms depending on your switch orientation and they also have a sensitivity of 109 dB’s. I don’t necessarily think they “need” added power either. I didn’t find some huge scalability with more juice. Perhaps things tighten up some… maybe? I would more liken the “fidelity upgrade” or “hi-res sound upgrade” to simply using better sounding gear. Not really scaling because of the output power. I will very briefly go into detail with how well the AS24 responds to each of my sources but in truth, I think the AS24 is somewhat of a chameleon and adapts nicely to each source I have for listening.Devices and pairings
Listening with the IFi Go Blu is a fantastic mobile solution as the warmer sound of the CS43131 dac chip pairs nicely with the AS24 and obviously it has plenty of output power. The Moondrop Dawn 4.4 (which also uses a CS43131 dac chip) and a 4.4 balanced cable sounds majestic. It has this snappy type of tonality with punchy treble and punchy bass and really accentuated the air between instrumentation.Moving up to the iBasso DX240, it is basically a Dawn on steroids. Everything is upgraded. Tighter, speedier, punchier, cleaner. The DX240 has some impressive tech inside as the dac chip is a ES9038Pro flagship chip which is a beast at the price of the DX240. The two pair very well. Last by not least is my Shanling M6 Ultra which I deem one of the best DAPs under $1000. At least that I have heard. Ooh is it smooth using the velvet sound technology with the amazing AK4493SEQ flagship dac chip and a bunch of output power. The AS24 is lusher with the M6 Ultra and so resolving, with a bigger and more dynamic bass section and silky mids. It’s a great marraige.
Decent Dongle dac
Truthfully, I just want to help you guys out and I don’t think you need much to drive the AS24 to good fidelity. Get a decent Dongle Dac. I’m assuming if you can afford the $112 for the AS24 then more than likely you have at least a semi-powerful dac/amp of some sort. I think you’ll find that the AS24 adapts well to different sources as I have.
Sound Impressions
Note: I want to preface that I did all critical listening using “0000/0000” on the switches. I may remark on my findings when adjusting the switches but predominantly I used all down simply for ease of review and to provide you with a benchmark. I figured that you could play around with the switch orientation that you desire, but this is a good baseline. Also, all listening was done using flac files stored in my devices. Listening to the KZ AS24
Listening to the KZ AS24 there is one common theme that I can’t help but think of… Cleanliness. The AS24 is clean my friends. It’s clean, crisp, smooth, resolving, detailed, punchy, airy… Should I keep going? Okay maybe I should actually break this down for you all. The sound signature that I hear is a very light V-shape to a U-shaped tuning. With the switches you can make this a stronger V-shape to even a W-shape tuning as well depending on what switch settings you go with. However, in the stock format it is closer to a U-shaped or light V-shape. The AS24 has a very good balance and also has plenty of macro-dynamics which make the overall sound pretty big and full sounding. I’d say there is a good dynamic balance. No one area of the mix stands out as the dynamic emphasis. It’s not bass heavy, mid-centric or a treble Heads dream. It’s just clean and energetic without inducing fatigue.Engrossing
The tonal color on stock comes across mostly neutral with a titch of warmth. When I say a titch, I mean a hair of warmth. “Mostly neutral” is what I’ll call it. The bass is punchy with moderate BA rumble, not quite like a Dynamic Driver but very good. The midrange is not very recessed at all and comes across detailed and airy with good energy. The mids are simply clean and crisp with smooth overtones. The treble region is non-offensive and actually pretty safe while keeping great timbre for a BA. I find the treble pretty engaging and not even remotely peaky. Technically the AS24 is a beast my friends. It is a detail monster and will pick up on all the small stuff in your music. The stage size is larger than I thought it’d be and is pretty engrossing.
Bass Region
The bass on the KZ AS24 in the stock condition comes across very clean. You will probably see the word “clean” repeated often because that is the overarching theme of the AS24. It is so clean; it has a bite to the bass and a deft punch to it. It isn’t quite like a Dynamic Driver, but it does have some nice thump. I say not like a DD, but it isn’t like a normal BA either. KZ did a phenomenal job tuning the AS24’s bass region. The awesome thing is that you can add more bass and warmth to the low-end and the AS24 does begin to rumble pretty good.Sub-bass
The sub-bass does have a tactile feel and sound to it, but like I’ve stated, it isn’t quite that DD type of tactility. There is something special about a Dynamic Driver that is incarnate, authentic and corporeal. Having said that, the #22955 Balanced Armatures controlling the low-end have nice density to the fundamental tones in the sub-bass, even more so the mid-bass. The sub-bass on the AS24 is very resolving with a quick attack and defined leading edge with a sharp and controlled decay. The bass is fast and can keep up with any test track I throw at it. I don’t consider this set “bass head” in any switch orientation.As far as sub-bass haptic rumble, the AS24 has enough for most genres and certainly has enough with a few switches raised. Now, it won’t give you that guttural type sound down low, but it does have a very low droning buzz when called upon. Take the track “Paradigm” by The Head and Heart. In this track, basically every iem on planet earth will give a good reverberant growl but what the AS24 does is gives it a knife edge bite which caps off that guttural vibration. You can feel the buzz and it sounds very resolute and very focused.
Mid-bass
The greatest emphasis in the low-end comes from the mid-bass. The mid-bass has a good slam to it providing some very crisp and rounded kick drums which come across as a clean thud. Take the track “Billie Jean” by Weezer. This song begins right out the gate with many subsequent booms from some expressive kick-drums quickly followed by satisfying snare “pangs”. The AS24 doesn’t have that fullness of a bass-head type set, but even on stock settings the sub-bass can be sonorous and deep when called upon. Add some dB’s from the main tuner and the sound comes across more fully. However, with that fullness it isn’t the most concrete. I wouldn’t call it hollow, but it isn’t booming either. It’s quick and efficient.The song “Groove” by Ray Wylie Hubbard has some gritty and dirty bass guitar play that is straight up abrasive in its sound. The AS24 on stock has plenty of mid-bass to replay this track in a satisfying way. There is a depth to the sound and there is meat to this track when listening with the AS24. My favorite way to listen to this set is “1110/1000” and when I do the sound just jumps out at you and becomes more energetic. So, if you’d like, you can bump things up to embellish certain aspects of the AS24’s sound signature. “Rich Off Pain” by Lil Baby sounds almost DD like when the bass drops on the AS24. Almost. To be perfectly honest I really enjoy the sound as the rest of the melody and beat sound so fresh and resolute with great pacing and timing.
Downsides to the bass
The bass region of the AS24 is very well done for a Balanced Armature low-end. I actually really enjoy the punch or that tightly controlled slam that they can provide. I find the bass to carry nice macro-details with evident and clear separation between the basses with some nice layering of the bass region as well. still, If I were to point out a weakness it would certainly be the fact that there are other iems in the price point which can offer better slam, deeper and more authentic and organic timbre. There are iems in the price point which specialize in the bass region whereas the bass on the AS24 is a solid part to a solid whole.
Midrange
The midrange is only the slightest bit recessed on stock settings. In fact, I don’t even like reporting that, as there is still a very lively and precise energy throughout the midrange and calling it “recessed” simply doesn’t tell the story. There’s a good presence or liveliness which can be pretty vivid. This is a musical midrange; it can be smooth and when it needs to the midrange has some tackiness to it. There is an end-to-end mellifluous theme which is demonstrated from the lower mids to the lower treble. This all-BA sound can even come across emotional and slightly atmospheric in its own way. The AS24 mids aren’t thick, not really lush either, but they are saturated. In their leaner stature they still have moderate density. They just aren’t overly warm. I suppose what makes them leaner is the neutral type of playback along with the very tight transient response and airy and clean approach.The AS24 midrange is flush with distinct detail retrieval, nice depth and layering to the sound, especially when the first switch and even when some added bass is switched on. However, even stock sounds nice. Is it for everyone? C’mon… nothing is for everyone. However, for what it is, the AS24 can flat out play ball. You won’t hear anything grainy or digital sounding. You won’t hear any sibilance as KZ made sure to keep that in check. The sound is pretty organic, at least as much as an all-BA can sound… Organic. KZ did a nice job on the midrange.
Lower-midrange
The lower midrange is the place we find most male vocals. On the AS24 you won’t hear that super warm and thick male sound. What I hear is this semi-warm and semi-organic but poised and transparent male vocal. There is a good structure and note definition which gives males a leading edge that is coarse but clean with smoother sounding overtones. Take “Dreamer” by Dermot Kennedy. His voice has an emotional sense to it listening with the AS24. It isn’t dry at all like one would think for a leaner and analytically adept iem. The AS24 doesn’t replay dry friends. There is a moist or bodied sound to Dermot’s voice on this track. In fact, the lower midrange does have “some” warmth provided by the mid-bass. It isn’t even close to sounding veiled, not in thee slightest. It’s polished, precise, and there’s an openness to Dermot’s voice which sounds slightly lean but also bold.Deeper male voices which hang around the transition from bass to lower-mid like Josh Turner’s in “Would You Go With Me” actually play back pretty good on the AS24. His voice isn’t the most resonant like some iems, but the AS24 replays the up and down intonations of his country baritone voice with a sonorous and taut delivery. Or if you jump up the register to tenors like The Arkells in the song “Knocking At The Door (Acoustic Version)“. The lead vocalist has a sharpness to his sound when listening with the AS24. Not sharp in a bad or peaky way either. The inflection in the lead singer’s vocals and note outlines are chiseled and prominent, almost forward, but not like an AS16 Pro comes across. There is simply a clarity and energy which is nice to hear.
Upper-Midrange
The upper-mids have an expressive energy to them without coming across “in your face”, to me anyways. I’m sure some of you will disagree. I find females to be more forward in the stage, more so than males come across. They sound pointed and highlighted. In “Everything I Didn’t Say” by Ella Henderson, she has a slightly more uplifted sound to her voice with the AS24 compared to some sets. With the AS24 her voice catches the emotion while still having a controlled sheen or shimmer. Which, by the way, doesn’t sound unnatural to me. She doesn’t have that balanced armature type timbre or metallic tizziness which can sometimes show up.Listening to Madison McFerrin in the track “God Herself” there is most certainly a smooth shimmer to her vocals. She has good body to her sound as well. Perhaps things become slightly too bright but that is a subjective matter. I certainly wouldn’t say that her voice has anything glaring or peaky. It just has some additional luster. The thing that I enjoy is that there is added energy and sparkle but also the breath in her vocals is picked up and the tenderness and intimacy of her voice is not lost.
Instruments
The midrange of the AS24 is so close to mid-centric that it’s tapping on the door of the moniker, yet it falls just short. What we are left with is a nice balance. There is a musical nature to the sound which can be emphasized in different ways depending on what switch orientation you use. Instrumentation sounds separated and detailed while maintaining a smooth, melodic and nearly natural sound. Strings sound tight with all the little secondary harmonics showing up very nicely. Piano could use a bit more body in some areas of its long frequency range, but for the most part piano has an abounding tonal depth. Most percussion has a replete thwack, boom, clash or pang to it. Percussion sounds physical and whetted which is nicely gratifying. Snares slam nicely with that agile and brisk pang to them. The AS24 can also have a nice bite to it which compliments the abrasiveness of electric guitar. The fundamental frequency of a cymbal strike is not flat or pushed to the background and depending on the recording they can sound solid edged & enameled with a solid “chisk” sound without splashy harmonics. Secondary harmonics may fade a bit too quickly but it’s not too bothersome.Downsides to the midrange
If I were to find a downside to the AS24 midrange it would surely be note weight and the fact that things can get bright on the right tracks. For a more realistic replay I’d like to hear a bit more of an organic type of note body with a touch more density I suppose. At times I miss that atmospheric sound of a Dynamic Driver which doesn’t always decay so sharply. Also, there are occasions in which I feel that some of my fellow hobbyists may find the AS24 a bit peaky. Again, neither of these “downsides” are issues to me, but if I had to choose… note weight & peaky.
Treble Region
I would describe the treble region of the KZ AS24 as mostly non-offensive, smooth, non-fatiguing, mildly energetic, detailed and snappy. The treble comes across as not super extended into the upper treble using the stock setting. Though this can obviously be helped somewhat by pushing the “upper treble” auxiliary tuning switches to “on”. The treble is somewhat bright but not with any fantastic brilliance up top. I find the treble to be just enough to bring levity to the rest of the mix with just enough lift up top to do so. I wouldn’t call it the airiest treble, but it is well separated, and detail oriented with high resolution for the price point which adds a sense of openness.Nimble & Tight
The treble is very nimble and dexterous and can handle speedy tracks as well as tracks with a lot of commotion. The rapid fire Ukelele, Mandolin, and Guitar work which speeds along in the song “Secrets” by Billy Strings is nothing short of exhaustive if you try to listen to each and every pluck or finger slide. However, something I find really cool is that on the AS24… You can do just that. It’s almost easier to listen to with a slower iem. It’s nothing short of a brain activity. In fact, go on his album and pick a track, the AS24 keeps up. Not only does it keep up, but it sounds good in the process. The timbre and tone is done well for an All-BA iem and doesn’t stray very far from natural.Complexities
Another track is “Bishop School” by Yusef Lateef. This is a track that I reference often as it’s a complete melting pot of treble activity and Instrumental congestion. Not exactly my favorite track (at all) but it works well to test the treble region in a nice way. There is simply so much going on with this track. Listening with the AS24 you’ll hear crystal clear flute play, bass, congas, drums, electric bass, electric guitar, percussion, trumpets, strings and piano play. Much of it resides at or near the treble region and it more so probably highlights the AS24’s ability to resolve complex tracks, but the treble activity is well on display here and it does very well. I’d say just as good if not better than any iem in its price point, at least that my ears have heard. Now I’m not saying this is a giant killer, but it is pretty darn good. This is a no hype zone my friends, just saying what I hear and nothing more.Downsides to the treble
The negatives within the treble region that I’ve heard is that the extension isn’t the best ever and treble Heads would likely desire a bit more energy and bite. Nothing else really stands out as an issue in my opinion. Perhaps more note weight body would be welcomed to.
Technicalities
Soundstage
The soundstage is very open sounding as the AS24 do have an airy quality to the sound. I would say that the stage has above average width, better than average height and even good depth. For a $112 iem the stage is very well laid out against the AS24’s peers in the price point. They have a big sound which stretches out past my ears when listening which I certainly wasn’t expecting. I wouldn’t call it the biggest I’ve ever heard, but the AS24 renders the psycho-acoustic stage nicely.Separation / Imaging
As I’ve stated, the separation of elements within the imaginary stage comes across well delineated as it is easy to discern between instrumentation and voices. The sound is very clean and detailed with good transient speed which does help to create some space between pieces of a stage. In the same breath these attributes also help in the imaging of the stage. There is a pretty precise placement whether you are listening left to right or front to back. That depth does add perceivable layers to my listening. Live tracks sound fantastic on this set.Details
One of the AS24’s strong suits is its ability to resolve the tiny minutiae in a track. I found that each area of the spectrum is capable of illuminating the subtle things within my music. Whether it be the harmonics from instrumentation, or the slide of the bow against a violin, or a finger slide on an acoustic guitar or even the sniffle from the guy ten rows back in your favorite live track. The AS24 does well to pick those things up. I’m sure there are some sets in the price point which challenge the AS24 but certainly it does well to draw out both macro and micro-details.
Is it worth the asking price?
For me, this is an easy answer, and that answer is a resounding yes. I have a hard time selling to myself why this set wouldn’t be worth the $112 that KZ is asking. Please trust me, I went into this review, as I do every review, with a skeptical mindset. I look for the downsides naturally in every iem that ever graces my ears. The AS24 is one of those sets which quickly dispelled any negative connotation in my mind. They came across very clean and resolving right out of the box with a very open feel to them sonically. The BA bass is great, the midrange is musical, and the treble is energetic yet non-fatiguing. Are they perfect? Absolutely not. Do they stack up to the competition… absolutely.Standing out amongst the others
If I look across the landscape of earphones in the $100 price point, I see a handful of sets which have their own distinct flavor, with their own pluses and minuses. Sets like the Gizaudio Galileo, Truthear Hexa, Fiio JD7, BQEYZ Topaz, Simgot EA500, Tripowin Olina (OG), Tripowin Olina SE, Letshuoer D13, Letshuoer S12, Dunu Kima and Dunu Kima Classic (soon to be reviewed), Dunu Titan S, as well as a handful of others not mentioned. The truth is… none of those sets can do exactly what the AS24 can do. Perhaps the closest in tonality and timbre as well as resolving ability is either the Olina or the Hexa? Some have better bass (subjectively), some have a more vocal centric midrange, some have snappier and punchier treble, and some are simply more well-rounded. Despite that, none of those sets listed are as resolving, clean, open and none of them have such quick transients. They are different. That’s the point.A compliment to any collection
My proposal is, find me a set that is as technically savvy whilst still being so dynamic like the AS24? Of course, some of those sets are bona-fide studs at their respective prices like the EA500 ($79), Olina ($99), or the JD7 ($69) which truly defy their price tags and also do some things that the AS24 cannot do. The point is, the AS24 is on an island by itself at the moment as it fills an “All-BA” gap within the audioverse for the $100 price point. I guess if I were the buyer in this situation, I’d ask myself if the AS24 actually compliments my collection? Also, does the AS24 fit my preference?Again, as for myself, this is an easy yes. KZ truly outclassed every “All-BA” iem that they’ve ever made and possibly every iem they’ve ever made, period! Depending on your preferences. The AS24 is built very well, it looks nice, I can tweak the sound to suit my likes and dislikes and it sounds extremely good. If you have $115 and you’ve wondered what a well-tuned all balanced armatures set sounds like, then I’d say… Go for it, the AS24 is LEGIT GOOD.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the KZ AS24 ratings below, that would be $65 to $120 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $65 to $120 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable.Aesthetic
-Build Quality: 9.3-Design: 9.5
-Overall: 9.4
–Accessories: 6.0
Sound Rating
-Timbre: 8.7-Bass: 9.5
-Midrange: 9.7
-Treble: 9.8
-Technicalities: 10.0
-Fun Factor: 9.2
Overall: 9.5
Full review: HERE
Conclusion
To conclude my full written review of the KZ AS24, I would like to thank Tyvan Lam and KZ one more time. Never have they asked me to twist my words, speak highly of their devices and never have they offered any compensation for the feature. They simply lend out their sets and ask for a truthful look at them and live with the results. So, say what you will about KZ or any company for that matter, but if they believe in their product enough to subject them to the scrutiny of an independent reviewer, then I’d say that garners some respect.Other thoughts
Also, please check out other thoughts about the KZ AS24. I can almost promise that some reviewers will have differing opinions, but that is the awesome beauty of this hobby my friends. We are different. In the end it’s all about the music and finding the best device to listen to that music to suit your own individual preference. The same goes for those who review. Some reviewers like to find the flaws and pride themselves on that, possibly more negative. Some hype a bit more and some simply say what a thing is and nothing more. None of them are wrong. So, get to know the reviewers out there, and take everything as a grain of salt until you know and trust the opinion you are receiving. This is hugely important. If you see a reviewer who is starkly negative or precisely prides themselves on that…then you might want to seek other opinions and vice versa.One other thing, please understand that all reviewers have not been down the same audio journey…. THIS IS SO IMPORTANT FRIENDS! I won’t go into it now but, think about it. Also, we all hear differently, have different tuning tastes, likes and dislikes, we have different gear as well as different musical tastes. It all goes into the soup of what makes each reviewer different and individual. Get to know them and hear other perspectives. Also, if someone acts like they know it all and have all the answers… Run the other way friends… That’s my 44-year-old advice.
Thank you!
Thank you for reading, I enjoy this so very much, it’s a true joy to explain my thoughts to you all and I truly hope it helps you in your quest to hear your music in the best light possible for your money. Please stay as safe as possible, enjoy your jams and take care.
littlenezt
Im on process writing my AS24 review and seeing your review im mostly agree with your opinion except the detail retrieval part, I found the Hidizs MS3 detail can easily beats the AS24, though in cost of more agressive sounding treble haha 
did you found the AS24 faceplate to be easily scratched?
My unit on day 1 it arrives, I wipe it with clean fresh microfiber clothes, it leaves swirl hairline scratch on the faceplate, probably it made out of acrylic or something, I was shocked
did you found the AS24 faceplate to be easily scratched?
My unit on day 1 it arrives, I wipe it with clean fresh microfiber clothes, it leaves swirl hairline scratch on the faceplate, probably it made out of acrylic or something, I was shocked
Soundpeats Engine4 Review
Soundpeats Engine4
Hello friends, today I’m reviewing the Soundpeats Engine4 which comes from one of the biggest names in true wireless… Soundpeats. I want to first thank Ellen as well as Soundpeats for providing the Engine4 in exchange for a full review as well as a feature at the website. I’ve had nothing but very positive dealings with Soundpeats and have come away impressed by the company in general. Never have they asked me to skew my words or shed a positive light in their products and for that I have nothing but respect. Soundpeats has been around for years creating mostly budget oriented audio gear and is positioned at the forefront of the industry as far as advancement in the technology is concerned. Always near the top of respective price points you will see a Soundpeats product. Within the past year I’ve reviewed a number of their products which all received very good to great marks. Sets like the Soundpeats Mini Pro HS, Capsule 3 Pro, Air3 Deluxe HS, and even an air conduction set, the Soundpeats RunFree Lite. All very well done aesthetically, built nice, and all sound great as well. The set I’m reviewing today seems like an upgrade across the board from some of their recent efforts as well as in its design language. With that said, let’s check out this latest entry into Soundpeats lineup of true wireless iem’s.
Packaging
The Engine4 or “E4” as I’ll refer to it for this review, arrived at my door and I have to admit I was really looking forward to this set. You’ll notice the box is not large, it’s black, it has a picture of the E4 imposed graphically on the cover along with some specs and features. Nothing too grand or wasteful. Inside you’ll find the E4 charging case in all its beauty staring back at you. Underneath that is the charging cable and tips. This will not knock your socks off or anything but it’s an elegant little packaging. 
Case
I really enjoy the size, shape, and look of the E4’s charging case. For me it is perfect. There isn’t a place I go without a set of true wireless tucked nicely into the tiny pocket (5th pocket) within my front pocket in my jeans. I really value cases which can easily slide into that pocket. I realize this is an odd “pro” as I am likely in the minority of people who actually do this. Still, the case is very smooth and glossy which aids it to easily slide into that tight pocket, and it doesn’t bulge out in any weird ways. Okay, now that I helped nobody with that, let’s look at the charging case a little deeper.
The charging case that Soundpeats designed for the E4 is very much reminiscent in size and shape to previous cases in the Soundpeats lineup. Namely the Soundpeats Mini Pro HS which I just reviewed not too long ago. I gave that case great props for the same use cases. However, this case is a true upgrade. For one, the case provided with the E4 is beautiful with its coffee-colored high gloss metallic paint job which covers the entirety of the outside of the case. The hinge has a nice rectangular logo adorned on it. The Mini Pro HS has a similar style case but comparatively I enjoy the E4’s case a bit more. First, it’s a hint larger to make room for the larger battery, which in turn means it has a higher battery capacity. In this case the E4 can provide up to 43 hours of battery life. Another thing which I find nice is its ability to withstand scratches, which is not normal for anything with a gloss to it. So far, no scratches.
Stellar case
I think Soundpeats did a great job with this one. On the bottom you’ll see the type-c charging port and right next to it is the reset button. As you open the case, you’ll find the small LED light which communicates battery life and pairing. I also like how strong the magnet is on both the charging pins for the earpieces as well as the lid magnet. Very strong. However, like the other Soundpeats cases thee number one great attribute of this case is its ability to allow 3rd party eartips! Friends, this is huge! I cannot begin to tell you how annoying it is when tws companies leave only enough room for their proprietary eartips. In the case of the E4 I haven’t used any tips that won’t fit inside the case. This is a great benefit, and anyone who’s been in the hobby can tell you how important finding the right tips is. Great job Soundpeats!I think the only downside I’ve come across is the difficulty I have at times removing the buds from the charging case. I am embarrassed to admit that I do have to concentrate at times to get these things out. There is simply no real good place to grip my fingers on. Oh well, if that’s the worst thing then the E4 is doing pretty darn good.
Eartips
Soundpeats provides three sets of eartips (S, M, L) for the E4. They are nice tips with a rigid flange and are more of a shallow fit with a medium-wide bore. To be perfectly honest I don’t think these tips do me much justice due to the fit and seal. I suppose for some people they will work perfectly fine, and they aren’t of bad quality by any means. I instead went with my favorite tips, the KBear 07‘s. One thing the 07’s will do is add a bit of cleaner mid-bass punch without adding any muddiness but also, they tend to emphasize the upper mids to a degree. The sound is more open and simply a bit airier too. Most importantly the fit is perfect using these tips. Obviously, this may slightly vary from person to person, but for the most part I do think most people will benefit from trying to find the best tips for them personally. Again, thankfully we have a case which allows us to get creative with our tips.
Build / Design / Internals / Fit
Build quality
I find the build of the E4 to be very sturdy, very premium feeling in the hand and structurally well put together. They feel rugged as well, with solid quality materials used in construction. Soundpeats didn’t use any cheap plastic material but a more robust and dense plastic. Not chinsy and cheap. The Faceplate is made of what also feels like a hard plastic, while the top half of the shell is textured with an ornate design. The bottom half of the shell cavity is a harder rubber material which is very substantial and compact to the touch and slightly grippy for sitting in the ear. A cool touch is the clear plastic which runs to the nozzles and allows me to see the drivers. Also, the metal nozzle grill is another nice touch. Soundpeats also included a total of four different mics as well as ENC.
Size
The E4 are not very large, especially in comparison to other tws iems on the market. They are comparable in size to the Mini Pro or Mini Pro HS. One thing which helps is the exclusion of some of the features and tech which would otherwise take up a lot of space and increase the size. For me the E4 are a very good size, and they are very light weight as well. They do slightly stick out from the ear but not like some Frankenstein looking tws iems. They still look stylish to me.Design
The E4 is truly an exceptionally nice-looking set of tws earbuds. The look is a “class act” from top to bottom with perfectly contrasting colors and design language. From front to back the E4 are simply ornate and very trendy looking. Starting with the faceplate touch surface, there is the faintest logo semi hidden inside of the darker plastic. It’s really only visible in the right light. Next, as I’ve mentioned, the top half of the shell which houses all the tech within has this cool textured design formed from imposed squares all stacked together, and this pattern circles all the way around the buds. The hard gray rubber on the bottom is a nice contrast as well. The E4 is simply a very nice-looking set which certainly seems as though it should be more expensive than it is.I love the choice of coffee brown and matte gray with a little bit of luster finish on the faceplate. Couple that with the clear lower shell which gives us a sneak peek at the bronze-colored coaxial drivers inside and what you get is a very elegant and premium looking set. The team of people who designed the E4 should truly be proud. They have created a wholly unique pair of earbuds that certainly looks much more expensive than they are.
Internals
Soundpeats decided upon another unique feature in the driver configuration. They went with Dual Coaxial Dynamic Drivers. One being a Titanium coated 10mm Driver acting as a dedicated Woofer and the other being a 6mm Tweeter. Both drivers are stacked on top of each other which helps to keep the size of the E4 to a minimum. Also, Inside is the battery of unknown size and Soundpeats also went with the same chip that they’ve been using for a few of their more recent sets, the WUQI WQ7033AR chipset.
Fit
The fit will likely be a mixed bag unless you find a pair of eartips which seal really well in your ears. As for myself I need a wider tip to seal as the nozzle length is on the shorter side. Hence why it was difficult for me to use the included shallow fit eartips. Anyways, the fit is great once you get them situated. In fact, I have most certainly had these in my ears almost all day in my office doing work on multiple occasions. Truthfully, they never even once bothered me. I don’t know how they will do for you but I’m willing to bet that the E4 will fit most people perfectly fine.
Features
SOC Chipset / Audio Codecs
Like I quickly stated earlier, the E4 houses the WUQI WQ7033AR chipset. This has proven to be a very good chip which allows the E4 to achieve Bluetooth 5.3. This chipset also allows LDAC, AAC and SBC Codecs. The E4 can reach up to 990 kbs using LDAC which is as good as it gets as far as Bluetooth is concerned. The MPHS can also replay at 24bit/96khz as well which is fantastic to see at $59. Friends, there was a time when we couldn’t even dream of getting LDAC inside of any tws iem, let alone a set which costs under $60 US. Really great to see. Soundpeats also advertises a Bluetooth range signal of up to 10 meters or roughly 32′ in unobstructed length.Game Mode (Low Latency)
One feature which comes in handy is game mode. This feature is becoming much more commonplace anymore as most earbuds come equipped with some sort of low-latency mode. Having said that, not all “game modes” are created equal as they must work as intended. In the case of the E4, Soundpeats says that you can achieve down to 70 ms latency playing games on your mobile device or watching videos or movies. I cannot speak on the exact number in milliseconds, but I can honestly say that the E4 did a relatively decent job in most any game I tested them with. Videos are a breeze but it’s the first-person shooters with a lot of commotion that I still had slight issues with. Which by the way is very normal.Multipoint connectivity
Another fantastic feature is only recently becoming more easily attainable in on-the-go Bluetooth devices. It used to be that you’d have to pay $300 for a set which could actually do such a thing. It’s like anything I suppose, as time moves on by the technology grows and gets better. In the case of the E4, what you get is a Multipoint connection but a sort-of stripped version of it. What I mean is, you cannot simply play a game on one device and then switch to the next device and automatically begin to watch a video. Yes, you can be connected to both devices but only it seems that only one device will be the one you must use for your videos and gaming while the other will be to answer phone calls. Still a solid addition that I welcome very much. Also, it works like a charm, and you won’t know how much you enjoy it until you’ve used it for a while and then it was taken away.Battery life
Soundpeats claims the E4 can get you up to 12.5 hours of listening on a single charge. I cannot speak on the truth of this claim. The truth is, when using SBC or AAC codecs you can get close to that 12.5 hours but using LDAC you will get around 8.5 hours. This is still a huge number for a tws. Not to mention that the housing is not very large, so how Soundpeats managed to squeeze 8.5 hours out of the E4 on LDAC is beyond me. I can say for certain that I have used this set many days in my office, watching videos as I do my work and not once have, they run out of battery, on LDAC. This is a huge benefit and a true selling point.Soundpeats App
Another great feature isn’t really a feature persa but instead it is the app that all Soundpeats Bluetooth devices get to interact with. Please understand folks, not every tws set has the luxury of an app and even fewer get an app as useful as Soundpeats. You can do the usual things like firmware updates, check battery status, reset the buds themselves, toggle game mode, toggle multi-point connection and so forth.One of the best features in my opinion is the Soundpeats graphic equalizer. It is a ten band fully functional equalizer which does make a significant difference in my listening. You can also use Soundpeats already preset equalizer settings as there are actually eight different sound modes to choose from. There is Bass Boost, Bass Reduction, Electronic, Rock & Roll, Folk, Treble Enhancement, Pop, Classical Music and last but never the least is Soundpeats Classic setting. For your info I am using the classic setting throughout all critical listening for this review.
Touch Controls
Another nice feature on the E4 is the touch controls. Thankfully Soundpeats gives us the ability to handle almost all functions straight from the touch controls. Again, the faceplate area is the touch surface, and I found the controls to be very responsive. I only have had a few ghost touches but other than that I’ve never had any issues. Anyways, with that said, you do get forward and backward controls, volume controls (up / down), you can speak to your voice assistant, answer calls etc.Call quality
My experience with Soundpeats involving call quality has always been rather good. However, if the E4 had a downside I’d say that call quality may possibly be it. I wouldn’t call it poor, but it simply isn’t as good as previous sets within their lineup. Let’s put it this way, I’ve done multiple Teams meetings using this set and speak often with my wife and kids over the phone using the E4. I have heard my wife say I sound muffled, and my son said I sounded tinny. In the case with my wife, I simply readjusted the E4, and she it sounded better. In the case of the metallic sound, I haven’t heard anyone else tell me this so take it for what it’s worth. Soundpeats employs ENC which stands for “Environmental Noise Cancelation” and for the most part this is exactly what it does. So, in that case I’d say that they nailed it. They use four mics and I believe one is this ENC mic.Waterproofing
Soundpeats did give the E4 an IPX4 waterproof Rating which actually means they aren’t waterproof at all but instead they are more akin to being splash proof. They can take splashes and possibly rain in a jog but do not submerge them. This is still a nice feature and I actually prefer this to full Waterproofing as I’ve noticed that at times a higher Rating means a slightly more veiled sound due to the film covering.
Sound Impressions
Note: I want to quickly make mention that I do not use EQ when reviewing tws iems. I may occasionally clue the reader in to how well a set reacts to EQ, but I want this to be an almost right out of the box review. I have a hard time not including what this set can sound like with some addition or subtraction of dBs at specific spots in the frequency. For the Engine4’s I used the “Soundpeats Classic” preset which is what is used out-the-box. Also, I listen using either UAPP or Poweramp using flac files stored on my devices. Summary
Out of the box I would say that the Engine4 has an L-shaped to V-shaped sound signature with a slightly warmer tonality overall. I hear a pretty good dynamic balance between the frequencies with an emphasis in the low-end, upper midrange and the treble. The bass hits with good authority and moderate density. The midrange has a thicker note weight in the lower-mids and a bit more shimmer in the upper. The treble is mostly laid back yet with moments of uplifting levity.The E4 comes across with a rich quality to the sound and a smoother note delivery while still sounding energetic and lively. Quite a feat for a true wireless. The stage is about average in size and the E4 is well adept at picking up smaller details in my music though I wouldn’t call them a detail oriented tws iem.
Only Gripe
The only gripe I see is that the volume is lower on the Engine4 than I’d like. I listen at around 90/100 on my Samsung Galaxy Fold 4 and about the same on my daps as well. They aren’t the loudest. Of course, this is an issue with many true wireless earphones. If Soundpeats could add a bit more volume headroom to the E4 than they’d be perfect. As it is, I’m not bothered by it as I simply have to crank the volume a bit more. Especially for activities which involve louder things going on around me. For instance, cutting the grass with the E4 is out of the question as they aren’t loud enough. However, for quiet environments, just chillin’ on my couch listening to music or watching videos I find the volume to be just fine.
Bass Region
The bass is fantastic on the E4. I could end this section here and that’s all you need to know. The bass is tight, with a nice transient behavior and good density for a true wireless. Using the “Soundpeats Classic” setting and no EQ I found the bass to be clean for a true wireless and dynamically full, almost like a wired set of earphones. Texture is actually nice, and the bass is not simply a one-noted affair. It’s not sloppy or smeared and isn’t wooly or hollow. Sub-bass
The sub-bass shows off on “Heavy is the Ocean” by Bush. To begin this track there is a very deep rumbling electric bass that reverbs in my brain using a bass heavy set of earphones. In the case of the E4 I almost get there. In fact, the sound has a nice leading edge and a clean and dense delivery that sounds awesome for a true wireless. I would venture to say this is the best I’ve heard from a Soundpeats product. Cleaner than the Soundpeats H1, which is saying something.Mid-bass
The mid bass does very well for bass drops, bass guitar, kick drums. It all sounds nicely rounded and buoyant yet slightly punchy too. I really enjoy the tuning here. With the Soundpeats Classic setting the mid-bass is moderate in quantity. Not even close to basshead… but clean. The E4 isn’t fuzzy, or wooly, and not even close to muddy. However, when I personalize the EQ, I began to see just how well this set performs. With the ten-band equalizer I found that the E4 reacts very well and without distortion or any weird artifacts from adding db’s. Of course, there is a correct way to go about EQ’ing but I can verifiably turn this moderately bassy set into a bass cannon!! In the track “Heat Waves” by The Glass Animals you have to wait out the beginning jingle knowing the bass drop is about to hit. Some sets can replay the gravely & sharp slam of the bass drop well, and others… can’t. The E4 sounds great here. Very satisfying.The bass is done right. Out of the box Soundpeats tuned the E4 to be a mature sounding V-shaped set with a nice sub-bass that’s deep and has good haptic vibration and a mid-bass that is held back a bit. This helps to ensure the midrange is free and clear of any mud or veil. There is evident texture to the low-end and remember, with a little EQ this set can flat out detonate.
Midrange
The mids are clean and halfway between lush and crisp. It’s a warmish-neutral midrange with nice note weight and a smoother replay. The midrange is organic sounding to me. Lifelike I would say. There is a sense of space between instruments and voices that is nice for a true wireless product. The stage is expanded and there isn’t that overcast veil over the sound or the congested type of replay that simply smears my favorite tracks. The E4 is well tuned friends, and I am more than happy to report that. Lower-midrange
Male come across slightly warm and well bodied. In the song “I Walk Alone” by Chase Rice, he comes across very present in the mix and while he begins the track singing less loudly and softer, his voice still sounds somewhat up front and full. As the track progresses (around the 2-minute mark) his voice grows, and this is where you see the clarity in the sound as the instrumentation around him picks up as well. His voice comes across palpable and separated from the melody surrounding him as he takes on a crisper inflection to his voice.Upper-Midrange
Females come across smooth, lush even. However, they also have a slight shimmer to them, very slight. Just enough to evoke the sense of sparkle and levity in a woman’s voice. As it should be. Of course, I will keep saying it, you can EQ until your heart’s content. With “Classic” I find females to be slightly laid back dynamically while still sounding expressive. There is a softer leading edge to vocal notes in this range which plays well with more emotional type tracks in my opinion. “Mariana Trench” by Gabrielle Aplin is such a song. Her voice is nicely rendered, breathy at times, sentimental yet ardent and the E4 is able to replay this very well. Again, surrounding instruments aren’t blurred into the background and there is a distinctness to the sound between elements on the stage.Not bad at all
Instrumentation all sounds pretty natural. Strings have a ping to them with nice harmonics and the piano sounds elegant and contoured and again… nice harmonics. Percussion is good for a true wireless as well, but all of this can change in tonal color and timbre when you switch between settings or use the EQ. Out of the box, I like the way the midrange is tuned. It isn’t too far back on the stage and voices sound centered and distinct. Not bad at all.
Treble region
The treble has a sense of warm airiness to it that is able to pick up on some macro details pretty well. There is certainly an emphasis up top which does well to bring up the entire mix and bring everything a bit closer to neutrality. I don’t hear an over emphasis at all and in fact when I EQ I add a little bit to the presence region. Not that the E4 really needs anything else but I do like a slightly crisper treble. There is a nice smoothness to the sound while still providing an open feel to it. I do hear some treble punch on certain tracks, but it never gets knife edged or sharp. In the track “Do it Again” by Steely Dan the E4 replays the cymbals with a fullness to them while not sounding unnatural. The electric sitar is also fuller in body and harmonious. However, I do like that the E4 is able to illuminate some of the details and minutiae within this song.
All things considered
All things considered, this is a true wireless and there are shortcomings with the technology. Still, the E4 are getting remarkably close to the expressive dynamism of a wired connection. The E4 has decent extension up top so to not leave out instrumentation and most secondary harmonics. There isn’t anything sibilant at all, not even close. I also don’t hear anything shrill or piercing at all. The treble nicely uplifted yet not even close to overdone, I’d even call it safe. I would also call it non-offensive and good for long listening. Again, this can all change with a few dB bumps through EQ. Not bad at all.
Technicalities
Soundstage
The stage size is just above average for most true wireless. This is evident in the track “Hook” by Blues Traveler. The sound is just past my ears in width and there is sufficient height and even some depth to add some layering. This is not a flat wall of sound in front of me and there is a sense of 3D depth around elements of the stage.Separation / Imaging
Instruments and voices have suitable air in between to accommodate a realistic stage performance. It isn’t perfect though. On some more congested tracks or songs with more commotion there is some masking and smearing but this isn’t the most noticeable in my opinion. Mostly, I hear a nicely partitioned off stage. As far as imaging I’d say that the E4 is very well done. I had no problem discerning individual Instruments most of the time. Left to right imaging is perceptible as well as front to back.Details
As far as the detail retrieval of the Soundpeats Engine4. I’d say it has a lot stacked up against it. First, it is a true wireless and again, the tech alone holds it back. Second, this set isn’t tuned to pick up every tiny detail, it simply isn’t. This is a musical set with good macro-dynamics that is more fun than it is analytical. Despite all of that the E4 is actually very clean and even resolving for a set of tws. The transient speed seems to be on the quicker side and there is a boost in the treble region to add a sense of space along with good extension both ways. All this adds up to decent details. It won’t blow your mind, though I’d say if you were looking to have your mind blown in detail-oriented wonder then you are looking at the wrong stuff. The E4 isn’t bad at all though and does a lot very well.
Is it worth the asking price?
Soundpeats lists the Engine4 at $59.99 and while the early bird sale goes on you can get it for significantly less. To be perfectly honest, Soundpeats could have sold the E4 for over $100 US without batting an eye. I have heard many many tws iems that cannot even stand next to the E4 sonically. So… Absolutely the E4 is worth the asking price! Without question this set is well worth the asking price.Feature deficient
The only thing holding the E4 back is the fact that it is feature deficient. We don’t see some of the features that other tws have in its price point. In fact, there are sets from the same company who dwarf the E4 in features. There is no ANC, Transparency mode, wireless charging, in-ear detection etc. The other thing that this set has going against it is the fact that the volume is pretty low. We want headroom! All hobbyists want more volume, we want to be the ones turning down our tws sets. So yes, there are some things holding the E4 back against its peers.The caveat
There is one caveat though, the E4 simply sounds better than the others. It isn’t sold as a feature rich tws iem. It isn’t advertised as such. Anyone going for this set is going for it because it looks flat-out DOPE and because they want something which can replay music at a very high level for the technology. Add in LDAC and you have a set that faithfully replays hi-res music at very close to wired levels. So… With everything laid on the table I can most assuredly recommend the Engine4 and can most definitely state that it is well worth the asking price.
Ratings (0-10)
*All Ratings are given per the price point as well as the style of earphone. In this case I am rating the Engine4 against the field of similarly priced tws iems. Keep in mind that a “5.0” is exactly average. These scores are collected only against the other sets in the price point, so it isn’t crazy to see some higher scores. This basically is my subjective scores in a price to performance against the rest of the similarly priced market. I feel this is the best way to gauge a set.Aesthetic
Build- 10.0Design- 10.0
Features- 6.5
Feature function- 9.5
Overall Rating- 9.0
Sound Rating
Timbre/Tonality- 9.8Bass- 9.7
Midrange- 9.5
Treble- 9.0
Technicalities- 9.5
P2P- 10.0 (Price to Performance)
Overall Rating- 9.6
Conclusion
What a nice set. I have a strong feeling that the Engine4 will become a daily carry tws iem for me. I personally don’t need anc, passive mode, or any other mode honestly. Just give me something which works, sounds nice and is built nicely while looking good. The E4 checks all of those boxes. However, I am not everyone else. I’m sure that many will like something with a richer feature set. One thing is for sure, the Engine4 excels at what it can do. I have enjoyed my time with this set, and I hope this review has been of some help to the folks out there in the market for a true wireless earphone. Please listen to, read, or watch other reviews relating to the Engine4. We are not all the same, so getting other perspectives will only help you to make an informed purchasing decision. Thanks
I again want to thank Ellen and the good people of Soundpeats for providing the Soundpeats Engine4 for a fair and honest review. They have always been so very kind and have never asked me to say anything against my integrity. I also want to thank you, the reader, for checking out this review. You are a huge the reason I even complete these reviews, other than I truly enjoy writing them. Please take care and stay safe.
dpastern
Tried to get these to work with my iBass DX220 can't get them working. They do pair via BT without issue, just no audio from any source on the unit. Soundpeats tell me that they're not compatible. What? If that is the case, this is a crap product.
Kinera X-Effect Orlog Review
Kinera X-Effect Audio Orlog
I was recently asked by Kinera to take part in a review tour of the Kinera X-Effect Audio Orlog cable and I happily obliged. In truth, it was my pleasure. Kinera has proven to be a solid and reputable company with great core values and exceptional products. I was not asked to skew my words in any way, and I make no monetary gain whatsoever. It’s easy to have mad respect for any company willing to stand by their product and subject their product to the scrutiny of a subjective opinion. That says a lot my friends. You have to believe that what you have created will be universally praised, across the board. This cable happens to be a collaboration between Kinera and the reputable Effect Audio cable company. Here is my review of the Kinera X Effect Audio Orlog…Collaboration
Like I stated, the Orlog is actually a collaboration between Kinera and Effect Audio. Now, Effect Audio has been around for quite some time, founded in 2009 they have been producing high end cables ever since. Truthfully, Effect Audio began at a time when high end cable manufacturers simply weren’t in great abundance. There were a few others, but Effect Audio certainly filled a gap in the market to a degree. From all accounts Effect Audio has master class engineering and artisans and it is easy to spot the lineage when looking at and listening with the Orlog.I think it is a wonderful marriage between two companies (Effect Audio & Kinera) who specialize in R&D and who both produce high level gear and audio equipment. Kinera has proven time and time again to be at the forefront of the industry in creating unique iems that offer fantastic sound quality which nips at the heels of the best in the business. It’s no wonder that their cables seem to always be very well recieved too.
Orlog
I adore the way Kinera imagines their products and the themes with which they always follow, which ultimately ties into the creation of their products. In this case we are looking at “Orlog”. Orlog happens to be a concept more than anything. A concept of fate if you will. Orlog or “or-lay” is translated to mean “primal layers”, but the actual meaning is more like “fate”. Orlog is the effects of our actions and deeds over the distance of time. However, it is the most important and significant deeds which will actually affect our future outcomes. The Orlog which is brought forth by you is a culmination of your life actions, thoughts and behaviors over time which will ultimately create a moral compass…if you will.The Anglo-Norse actually believed that they could lay down their good deeds into the well of Wyrd and ultimately not only change the fortunes of their own lives but also of the entire cosmos. This was their Orlog. Which is basically fate. This all coincides into an actual ritual which was performed called the ritual of “Sumbel”. It’s said to have at least some speculative effect on European history and Western culture. This is a seriously condensed version of this understanding and for the sake of the length of this review I will keep it as concise as possible. We are talking about the naming scheme of an upgrade cable after all… and a really good one at that.
Norse Mythology
With all that said, Norse mythology takes things a giant leap further, as it normally does. Kinera lays it out in their promotional material and how they attributed this ancient myth into their naming scheme. I will do my best to relay the theme to you all. Basically, Norse mythology states that Orlog holds the workings of the entire system of the cosmos, it is the absolute truth. Orlog is the scale or measuring stick so to speak. They state that Orlog condensed all of the truth of the world into one shining crystal and buried it deep into the Scandinavian Mountains. Yes, Norse mythology takes this concept and mythos a lot further. Kinera says that whoever finds this crystal will be able to understand the ultimate rules of how the world works and effectively obtain supreme glory.Now, how does this relate to the Kinera Orlog? This is where you begin to see the creative artistry of the people who created and imagined this product. Most of the correlation is evident in the aesthetic and design principles but Kinera also believes the balanced sound of this cable is also a direct interconnection to the premise of “Orlog”. There is obviously quite a bit more to be learned here but the basic principle is pretty easy to understand as well as the Norse fable related to Orlog. With all that said, let’s take a look at the Kinera X-Effect Audio Orlog.
Purchase Link at Kinera Audio: Kinera X-Effect Audio Orlog
Packaging & Accessories
Upon receiving the Orlog I was first met with a stark realization. That is, “So this is the packaging you get with a $699 cable”. The thought that went into the “packaging display” is actually quite awesome. In fact, I have a hard time posting pictures because I’d much rather you all see it first, for yourself, in person. However, there are enough reviews out now all slathered in pics and I’m not withholding anything from you all. The packaging is very nice.First off, there is a short sleeve which wraps around the bottom of the black box which the Orlog comes in. The sleeve is shaped in a mountainous landscape which I presume is supposed to mimic the Scandinavian Mountains. In the middle of the box you’ll notice a slightly raised square which holds the logo as well as the name of the cable itself and is penned very nicely. The entire unboxing is artistically done and ornately laid out with an absolute premium vibe.
What’s inside?
One of the coolest things that I’ve seen in an unboxing is the pull-out drawer style opening mechanism. Pulling on the handle at the front of the box you’ll notice the center begin to rise. What a cool touch. As you open this “drawer” you’ll notice the classy looking circular carrying case as well as an envelope with a wax seal. Another nice touch! It’s the little things, I suppose if I’m paying $700 and up for a cable then I should expect these nice additions. The envelope is seated under some tightly fitted foam tabs and once you do remove it you will finally see the cable which is tightly wrapped around a nice little “holder” … if you will. You will straight away notice the 4.4 jack which is situated and nestled into a little cut-out portion of the holder.
Carrying case
The case is dope! It is a round case which is covered in black leather and also has a nice gold colored zipper which contrasts the black perfectly. I’m a sucker for things which look premium, and you can very easily tell that Kinera and Effect Audio are very well aware of this. The zipper function works smooth and easy and doesn’t get caught up and doesn’t stop on you. It simply works. Please trust me that I wouldn’t bring this up if it wasn’t an oddity in the carrying case world. I also like the look of the stitching which surrounds the top of the carrying case and is also a nice touch. It looks sweet and works. What more could you ask for? Actually, don’t answer that.
Full Review can also be found HERE
ConX fittings
As you open the carrying case, you’ll find another little plastic case. Inside of that case you will find either the additional MMCX or 2-Pin interchangeable connectors. I don’t know which comes attached in the actual unboxing as this is a tour unit. The connectors can be removed and applied by simply starting the screw with your fingers and then wrenching them on with the included tool. The ConX connectors are proprietary creations of Effect Audio
The one gripe I have is one which I don’t think you can really get around and that is the size of these connectors are quite small and can easily be lost in a moment. I’m sure some will have to concentrate a bit more while screwing them on for the first few times. Anyways, you will also notice a little tool. This tool is used to help in the process of applying and removing. You’ll notice two notches on both the tool as well as the connectors which fit perfectly to give the tool a bite for wrenching.
A couple things to mention
I honestly can’t think of a more beneficial attribute to a cable attachment then something like interchangeable connectors. I can go from MMCX to 2-Pin in about a minute (or two) without issue. That said, please make sure that the connectors are nicely tightened using the included tool. I found my music began to cut out on me because I was being very ginger with this cable as it isn’t mine and I didn’t want to break it or something horrible like that. In particular the MMCX connectors, as there is a lot of movement with this style of connection to begin with. 2-Pin connectors are fitted and stationary, so it isn’t as crucial.Secondly, I just want to comment on how well made this cable system is when using the 2-Pin connections as when I tightened them up, they always ended up perfectly aligned with where they should be. I know it may not seem like a big deal but tapping these female threads to perfectly align with the male threads relative to the 2-Pin on a set of earphones can easily go awry. Beyond those couple things there really isn’t anything else to mention. Everything works as intended, which is exactly as it should be.
Specifications
–Material：UP-OCC–Dual Material Hybrid Design:
*Golden Ratio Composite Cable Core：Multi-strand gold plated copper & silver-plated copper core mixture
*Golden Ratio Composite Cable Core：Multi-strand pure copper core mixed with pure sterling silver core
-Braiding：4 core / 8 core three-dimensional braiding
–Cable Diameter：26AWG 4 core / 8 core
–Outer Layer：EA UltraFlexi ultra-soft insulation outer layer
–Interface：EA ConX 0.78 2pin, MMCX
–Plug：EA-P 4.4mm balanced
–Material of the Plug：Gold plated brass
–Plug Internal Connection：Threaded connection structure
–External Metal Parts：Aluminum alloy
–Cable Length：1.2m
Full Review can also be found HERE
Material of Construction
Kinera and Effect Audio actually made two different cable arrangements. The cable we are reviewing today is a 4-core cable which costs $699 but they also produce an 8-core cable which will put you back a cool $999. These are high-end cables folks. I realize this sounds like a crazy amount of cash for a cable, but in all truth, as far as luxury cables goes, the Orlog is not that expensive. I don’t even want to comment on some of the prices that are out there, it’s almost obscene. Anyways, I will not comment on the 8-core as I don’t have it with me and will concentrate on this beautiful 4-core master class of a cable.Construction
As the specs above suggest, the 4-core Orlog has a dual material hybrid style design and is composed of multi-strand gold plated copper wires as well as silver-plated copper core mixtures. The 4-core is also outfitted with multi-strand pure copper core with pure sterling silver. It’s all in the materials my friends and the quality of those materials. In addition, the Orlog is a 26AWG cable with Effect Audio’s UltraFlexi super-soft insulation which makes it nice to wear. The Orlog comes equipped with a 4.4 connector and has very tasteful artistic aluminum alloy fittings used for the cable split as well as different little touches on the connections as well as the 4.4 plug.The Orlog has a tight braid a few different colors which appear to be almost a grayish color wire intertwined with a copper/white wire. Very unique in appearance which will couple well with many earphones aesthetically speaking. Kinera used CNC crafting to carve out each of the aluminum fittings into little mountainous scenes which obviously depict the Scandinavian Mountains to further the overarching theme of the Orlog. You’ll notice these little accents on the Y-split, the 4.4 connector and each of the cable connections (MMCX/2Pin).
Aesthetic & Design
Folks, this is a very nicely made cable. Beautiful in appearance from the 4.4 connector to the earphone connectors. Unique from end to end, the Orlog oozes quality and fine craftsmanship. The Orlog feels very nice in hand and is pretty chunky without being too thick or weighted. I find the weight to be lighter than it looks as you won’t have that hefty pulling-down on your earphones due to its mass. I’d say it’s pretty much perfect for me and is good for long listening sessions. The cable UltraFlexi insulation is moderately soft so that it isn’t stiff and has no microphonic effects and it also isn’t so soft that it is limp and folds and flops around too easily, a nice middle ground.Design
As far as the actual design is concerned, I personally think that Kinera did a fine job in choosing a colorway which stands out and looks very high-end as there is an overarching sense of luxury with the Orlog. The look is striking, very different from the sea of cables which float around the audio world. Not often you see a cable with the type of design accents that Kinera/Effect Audio chose to use. Again, using the Norse mythology theme they took an idea and imagined that idea bottled up into a cable. The Orlog is the end result. Really it is beautifully crafted with fine materials and a colorway that is distinct in appearance. It is almost as if Kinera chose colors of the wire to help make the gold/black fittings “pop” more. Really a gorgeous looking cable.For everyone?
That being said, I don’t think the look will be for everyone as the mountain accents and color arrangements simply may not fit all earphones perfectly. This cable may not couple well color wise with every set of earphones and that is something to take into account. I can surely see a hobbyist or two passing on this cable simply because of the colorway, which coincidentally is at least in-part a reason a person would purchase a cable to begin with. Perhaps using fewer contrasting colors would’ve been a better choice, possibly more earthy tones for the fittings. I’m not so sure that everyone will be a fan. Nothing is for everyone my friends. However, I also think that “most people” will adore the look of the Orlog.Again, as for myself; I am more than pleased with the look as it really does add a luxurious vibe to most any earphone, I attach it to and quite frankly I think its dope looking… but that’s me. Truly an attractive and exquisitely imagined cable from top to bottom.
Fit is nice
I’ve spent quite a bit of time listening to the Shanling MG600, Fiio FH9, Yanyin Canon, Hidizs MS5 as well as a host of other mid-fi level iems with the Orlog and I have taken away a few more things from this experience. First, the Orlog is very well made and fits very nicely. Of course, achieving a good fit is not some amazing feat for Kinera and Effect Audio. Even budget cables manage this… but it should be noted, nonetheless. The static weight is well distributed for all the extra bling and aluminum eye candy which adorns the Orlog. Another noteworthy addition to this review is that the ConX connections become very easy to swap out with usage. Not that they are very difficult to begin with.
Pairings and Sound
Preface
I want to preface this section with a simple reply to the inevitable drama which surrounds cables and subsequent tonality or sound changes which “may” or “may not” occur due to cable swapping. First off, my experience is my experience. I’ve seen seasoned reviewers and audio personalities which swear that cables make a difference and others that swear that cables cannot make a difference. Both are stringent in their understanding and the “SCIENCE” behind their reasons. I don’t get into all that and frankly wouldn’t care about this subject or even mention it at any other time in my audio journey, but I do care about the reader, and I do want to give my honest opinion right now.My opinion
I was asked if this cable “actually” makes a difference tonally or otherwise? “It’s probably all in your head” is something that I hear often. I suppose I can’t deny that, it would be odd if I was hearing the difference anywhere else. People look at the cable debate and say that science backs the opinion that cables make no audible difference. Intelligent and well-meaning people who have been in the Audio game at a high level for years actually proclaim this. However, in my opinion and from my experience I have certainly heard enough of a change to report it. This is a touchy subject that I honestly don’t enjoy speaking my truth on. Cables can and do make perceivable differences in sound quality… To me. I realize I don’t speak for everyone else in that opinion.This is my experience friends, and I feel a pretty large weight to report my exact findings as the Orlog is very expensive. I respect everyone’s opinion on the cable debate but honestly folks… There isn’t a soul on earth who could convince me that cables don’t make subtle to not-so-subtle changes when I hear them with my own ears…moving on…
The Orlog Difference
The Orlog seems to emphasize the low-end to a degree with some added weight and definition in the mid-bass. I also noticed a richer haptic drone to the sub-bass. Is it world changing? Probably not, but like I said, hobbyists will pay for the subtle changes that a good cable will provide.Next, the Orlog seems to cut down on the glare that some iems can exhibit, as the treble region and the upper midrange sounds less grating using this cable with a lusher & smoother inflection while remaining detailed and layered.
Along with that, I hear an audible forwardness of the midrange. However, calling it a “forward presentation” isn’t exactly correct. I’ve been working out in my mind how to say it because it isn’t easy to explain. It’s almost as though the midrange gets a resolution boost with better separation and note definition which almost sounds like added emphasis. I hope that makes sense because there aren’t a whole lot of ways to say it.
Next, I will make these quick. Most of the benefits of a cable will be focused on the aesthetic for the vast majority of people, I’m assuming. However, there is some sound news to share in my experience with the Orlog. Again… Moving on.
Shanling MG600
One subtle issue with the Shanling MG600 (MG600 Review here) is that it can very slightly get a bit too hot in the upper-midrange/lower-treble region in certain tracks. The pinna gain can be a bit much. Granted, Shanling did a masterful job tuning this set for the price. Take the track “Wasted” by Diplo (featuring Kodak Black and Koe Wetzel) on his newest album and collaboration effort with various Artists. This track can bite with sharp intonations and many sets can come across somewhat grating. When Kodak Black begins the song with his oddly piercing voice, you’ll hear what I’m talking about if you are listening with a more treble, upper-mid boosted iem. This is one track which doesn’t agree with the MG600. It is just a hint too sharp and processed sounding with the included cable.
I found that using the Orlog and the included MMCX ConX connectors that that sharpness has subsided to a degree which was neat to hear. Another thing I notice is that vocals “seem” pushed a bit closer as well with cleaner note definition. I hear an underlying richness or “presence” in the midrange which sounds cleaner and in better control. Better said, there is a dynamic accentuation of each element of the staging with what sounds like more air between those elements with better spacing and front to back layering.
Subtle Changes
Listen, in audio we speak on subtle changes, and people PAY for subtle changes and sometimes they pay a lot for it. In this case I feel like it is exactly what the MG600 needed. Not every earphone I tried gave me this experience and this is the one of the few with an actual “technical” sound benefit that occurred while testing. Others simply had some tonality shifts.Fiio FH9
The Fiio FH9 is a stud (FH9 Review Here). A great sounding set that is well balanced and musical. However, there is a very slight issue with toned down dynamics. I really shouldn’t call it an issue. It isn’t the most exuberant and vivacious. However, attaching the Orlog actually added a depth to the sound which I can’t really explain fully. Again, the midrange seemed to be accentuated with a bit better layering, spacing and increased airiness. Also, there is some added oomph to the low end. Very slight changes which help the overall sound of the FH9.
Aesthetically, the original cable which comes packaged with the FH9 does look a little better as it was literally made for it. Still, the Gold and black on the Orlog does look flat out sweet as it perfectly clashes with the FH9’s silver colorway. Add in the light gray of the cable and we have a match. However, it is the feel of the Orlog which is a much-needed improvement. The Orlog isn’t as heavy or dense as the FH9 cable. I’ve always disliked the weightiness of the FH9’s cable as I always feel this pulling or tugging down on my ears. Hence why Fiio added a magnetic cable clip to take some of the weight. I don’t have this issue with the Orlog. Just as beefy and thick in appearance but about half the weight.
Yanyin Canon
Listening using the Yanyin Canon I honestly didn’t really hear much of a perceivable sound benefit. Nothing really jumped out at me anyways and trust me I listened for it intently. I would have thought the upper-mids would have been leveled off a bit based on my experience with the MG600, or that I would hear an increase in low-end punch but to no avail. If there was a difference at all then it is certainly too subtle for my ears to hear.
The Canon comes with a decent cable, and I do like it quite a lot, but the Orlog clashes a bit too much in appearance with the Canon. In my opinion. Something about that deep reddish maroon of the Canon, contrasted against the light-gray, copper & white of the Orlog with the gold and black of the fittings on the cable is a bit of an eye sore. It helps the Canon look ornate and lavish but doesn’t exactly fit in the color scheme. As far as the feel is concerned and how well the Orlog sits on the ear, I would call this a definite upgrade. The Orlog is simply more pliable and comfortable.
Not perfect with everything
There are quite a few other iems that I checked out with the Orlog, namely the Hidizs MS5, Mangird Tea, HiSenior Mega 5P, Raptgo Hook-X and the list goes on. I won’t go into the auditory benefits of pairing the Orlog with each set, but I did perceive further subtle shifts in tonality with each. There was one slightly negative difference which I noted when pairing the Orlog with the Hidizs MS5. I actually think that the Orlog had a worse effect on that set. The Orlog almost added this detached and hollow feeling to the midrange. To be perfectly honest, I think the Orlog is simply accentuating the midrange tuning already present with the MS5. Though I did notice the sound did come across cleaner with the MS5 attached to the Orlog. I suppose that nothing is for everything, but predominantly the Orlog benefits most sound pairings.
Conclusion
To conclude my review of the Kinera X-Effect Audio Orlog, I want to thank Kinera as well as the good people who have painstakingly put this tour together. Thank you for providing the Orlog for an honest review. I have thoroughly enjoyed my time with this cable and hate to send it on its way to the next in line. It’s bittersweet I suppose. Both Kinera and Effect Audio should pat themselves on the back. The Orlog is a very well-conceived and well implemented cable with a great theme, build quality, look & feel, as well as a user-friendly Swiss army knife type experience that I think is simply awesome. Great job.With that said I have to say this… Please check out other reviews of the Kinera X-Effect Audio Orlog. Do not just take my word for it either as we all hear differently, we have different gear, and we all haven’t been down the same audio journey. Please check out other perspectives and thoughts as it will most certainly help with your purchasing decision.
Lastly, I thank you for checking out my review. I feel like a kid in a toy store completing these reviews and greatly enjoy the process of laying down my thoughts as it is 100% therapeutic for me. So, thank you, I do hope it helps. Take care everyone.
KZ X-HBB PR2 Review
KZ X-HBB PR2
Intro
Today I am reviewing the KZ X-HBB PR2. KZ has been on a tear lately and the KZ X-HBB PR2 is one of the reasons why there has been such a spotlight on the company. Certainly, it doesn’t hurt to run a collaboration with the well-known “Hawaiian Bad Boy” from “Bad Guy Good Audio Reviews” of YouTube renown. Another thing which helps the cause of this budget earphone giant is that they are offering the KZ X-HBB PR2 for a crazy low price of only $40. By the way, this set is a true Planar iem. Many of you already know how unheard of this is for a truly planar iem to be sold at such prices, but as the tech becomes more widely produced and manageable, I suppose the prices have dropped accordingly. It is a great time to be a fan of audio my friends.HBB
I have always been a fan of HBB’s style, his delivery, that forthright and honest authority which he seems to speak with. Naturally I gravitated to his iems. Have they all been amazing? No, not all of them (I’ve never heard any of his more expensive sets), but by and large his iems have been very well tuned to his preference and coincidentally they are tuned nicely to my preference as well. For the most part anyways.One thing is for sure, HBB seems to only put his name on something which he can sit back and be proud of. When you mix experience, passion and genuine pride in the end product I think you will most of the time end up with a good result. To me this is evident in HBB’s collab thus far. Always built well, always stylish, always tuned better than the OG of whatever iem he is tuning. with the PR2 there is high expectations and I believe those expectations have been met and exceeded with this set.
On a tear lately
I mentioned the absolute tear that KZ has been on in the last year or so and certainly within the last few months creating truly top level iems at their respective price points. I have reviewed some myself and even have some which are waiting in the wings to be published. Sets like the KZ ZVX and the KZ D-Fi are two iems that truly play within the top of their price segments. So, how does the PR2 fare against other KZ Planar iems of recent times or even other Planar iems from other manufacturers for that matter? Why don’t we take a look. Thank you for visiting my full review of the KZ X-HBB PR2.
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
Not much to say here. Most of the time this is my first sentence in the “packaging” area of my review of a KZ/CCA set. KZ doesn’t typically offer much, but I am more than fine with that because they put so much into the earphones themselves. The box is the same size and shape as the cardboard sleeve box. A picture of the PR2 adorns the front cover while there are some stats on the back. Take off the sleeve and you’ll notice the masculine looking PR2 sitting in a plastic holder. Under the earphones is a cardboard cover which houses the eartips and the cable. That’s about it my friends.
Eartips
KZ included one pair of medium sized foam tips of decent quality as well as three pairs (S, M, L) of some of my all-time favorite tips, the KZ Starlines. This may not seem like much, but I believe the Starlines are some of the best tips (when you need them). They seal phenomenally and are very rigid. Also, you can invert them to a horn style using a screw and some elbow grease. Coincidentally the audio community refers to these as “Reversed KZ Starlines”. I actually stuck with the Starlines for this review.
Cable
The cable is a downer. I really was hoping to get something else with this collaboration but in truth… I would’ve swapped it out anyways, I always do. The cable provided is the same QDC style, OFC cable with the white rubber casing and right angle 3.5 se connector. I do believe that a balanced cable for balanced sources is likely the way most people will listen, being the power requirements are greater than your average set of earphones. I actually swapped the cable for an 8 core Fedai QDC, 2-Pin, SPC balanced cable. No there isn’t anything wrong with the included cable providing you have a good and strong source to power the PR2.
Build / Design / Internals / Fit / Drivability
Build
The build quality seems to fall in perfect harmony with some of KZ’s earlier Planar releases like the KZ PR1 Hifi (review here) and KZ PR1 Pro. KZ switched up the faceplate a bit, but the quality remains. KZ decided to go with two colorways using a gunmetal or silver colored faceplate as well as a black color. Obviously, mine is the silver color. What we have is a solid build, no doubt about it. The PR2 carries the identical shape of most KZ iems and certainly all of their planar sets are almost identical in footprint.The faceplate cover is die-cast using a metal alloy and perfectly fitted on the shell. Underneath that is a faux semi-open back mesh which gives the appearance of a semi-open design. Please note that this is most certainly not semi-open back. The body of the shell is made using a clear resin which combined with the alloy makes for a lightweight iem which is good enough for long listening sessions. Also, the PR2 is sold with or without a mic. I personally enjoy the mic-less version and have no way of knowing how well the mic actually works for phone calls and such. I believe the mic has working controls too which is nice. Honestly, there isn’t really anything special about the build except that it is done for the low cost of $40. It is solid, has a good feel to it and seems durable.
Design
The design is very much reminiscent of other recent KZ Planar iems. I do like the open style look of this set with the mesh underneath. There is a certain confident swag that the PR2 imposes. Definitely masculine in appearance and looks pretty sweet in the ear. At the very least it is something to talk about with non-audio people out there. I wouldn’t call the look anything crazy unique but it’s a nice style. Something KZ has been doing very well of late.Internals
There is so much hoopla which has surfaced within the past year about what is a real or semi-real planar. One thing that KZ can hang their hat on is the fact that their planar iems are in fact… Planar iems. They equipped the large full frequency 13.2 Planar Magnetic Driver with a double sided (7+7) array of N52 magnets. That is fourteen N52 Rubidium magnets in total. The Diaphragm itself is actually silver plated which is said to increase transient response as well as resolution and balance between the frequencies, among other notable attributes.Fit
Have you tried any other KZ planar iem? If so, then you know how the PR2 will fit. For me it fits pretty good, nothing to note either way. I fiddle for half a second and I’m in business. I never have fallouts and I never get an ache in my ear or anything like that. They are pretty comfortable and (at least for me) they seal very well and isolate very well. I heard no complaints from friends or family that there is any sound leakage and noise from the outside environment is attenuated pretty well.Drivability
Okay, now we get to the meat of this review. Phew… I try to hurry through everything else because let’s be honest, this is what you are here for. You need to know what it takes to drive this lil baddie appropriately. Fear not my friends, I have done the legwork and painstakingly come up with an answer to all your queries. Okay painstaking may be a stretch. However, I did find out that the PR2 does need some good amping and it will take whatever you throw at it.The PR2 is rated at 15+3 ohms and a low sensitivity of 94 db’s and so it isn’t some walk in the park to power this set of earphones. Using a mobile solution such as the Fiio UTWS5 was instantly thrown out the window. 50 mw@32 ohms is simply not enough.
Moving up to the IFi Go Blu was an instant upgrade on balanced and just enough to push the PR2 decently. In fact it is a pretty nice pairing if you happen to own the Go Blu. The CS43131 dac chip and warmer yet dynamic tonality worked well with the PR2 yet still the PR2 has not reached its best fidelity in my opinion. Even at 245 mw @32 ohms on balanced. Moving onto the Moondrop Dawn 4.4 which also has the CS43131 dac chip, I found it even easier to push the PR2 and there is pretty good synergy with the Dawn. However, they still have more to squeeze out of them (PR2).
More juice & synergy
The last stage of the power game for me ends at my daps. The iBasso DX240 as well as the Shanling M6 Ultra. Both daps push close to 1 watt of output. I used both on high gain and with those power numbers the PR2 is finally brought to a very lively and dynamic sound. It is with these two daps that I finally heard just how good this set of $40 earphones can be. By the way, I also found out that the PR2 isn’t very picky about source and synergizes well with all that I used them with.The DX240 has a beast of a dac chip, the ES9038 Pro along with the Amp8 MK2 module. Boy do these two sound engrossing together. Also, the M6 Ultra which uses the AK4493SEQ dac chip, another beast of a chip which in my opinion brings out the best in the PR2. All different kinds of chips and source impedance and the PR2 still sounds fantastic.
Pint Sized Sound Impressions
Note: During the course of my testing, I used proper amping, high gain, balanced cable and about 100 hours of burn-in.For a $40 Planar iem I was most certainly taken aback by its mature and balanced sound. Yes, the PR2 is a great sounding planar iem, no beating around the bush. Especially for an iem with this driver tech which hovers at such a low asking price. It’s obscene actually. However, the PR2 isn’t without hesitations. In fact, I could make a healthy argument that there are multiple better sets that you could get for the money depending on your source situation. There are good reasons and usage cases that make less sense to own the PR2. I will dig into that later, but I’d like to prelude the rest of this section with… This set sounds really nice and is basically a complete no brainer.
Preface
I’ll also re-preface that I did burn this set in for at least 100 hours. I most certainly heard changes in this set after the burn-in period and I would strongly advise that you keep from judging the PR2 until you have done so. Just take my advice, humor me please, burn-in or listen-in for at least 70 hours and if you have the patience give it some more.Sound
The PR2 has a warmer tonality with just enough illumination up top to open up the sound and add some luster or some brightness. I hear a slight V-shape sound signature with nice energy when properly amped. The sound is reasonably airy and open with a nice sized stage.The PR2 has a moderately thumpy bass with decent rumble which is actually very nice for a true planar magnetic. It’s a nice and quick planar bass. Extension is pretty good into the lowest of lows and the bass replays very well most any genre with a bass drop, bass guitar, kick drum etc. Not exactly DD bass, but a very good planar bass that comes close to that beloved DD bass.
The midrange is slightly forward, or better said, not really all too far recessed. Not the thickest male and female vocal, but precise, clean and vivid. Not so lush, but the vocals sound smooth enough and not too coarse.
The treble region is elevated yet not to a detriment. I hear a smoother style treble which still has a snap to it, or a punch. Extension is very well drawn out and I only hear very minimal “Planar” timbre.
If this is all you read, then just know that the tuning is very well done. HBB is quickly mastering this tuning thing and I can honestly say that I trust the dude completely anymore. If he can do with $40, what KZ couldn’t do with $80-100, then c’mon folks… dude has an ear for sound. Let’s break down each 3rd of the mix a little further…
Bass Region
The sub-bass of the PR2 can be described as well emphasized with a snappy punch to it and adequately deep haptic vibrational buzz and good extension down low. So, what is adequate? Adequate to me, in this sense, is a bass that can sufficiently feel the rumble, with enough density to add some of the droning tactility to the bass region which so many genres require. The PR2 certainly has a planar type bass. To be honest, planar bass has never been ideal for me, but it can definitely be satisfying. What the PR2 does have is a tightly perceived transient attack and decay.Close to DD?
In the track “Heavy is the Ocean” by Bush (newest album) this song comes right out the gate with some deep droning and grizzly guitar riff which absolutely sets the stage. The PR2 is not the deepest and trust me this track can get pretty deep with a thrumming type of growl. I do get some of the “feels” of the bass on this track. For a planar I think it sounds great. Truthfully it almost has the timbre of a DD yet seemingly less emphasized. The only real difference is in the tightness of the presentation as the PR2 does have a more concise, concentrated leading edge like most planar magnetic iems. I hope that makes sense. Planars typically (not always) don’t have the atmospheric type bass with the same depth as a dynamic driver but the PR2 gets you close and sounds very nice.Mid-bass
We aren’t left in wanting on the PR2 though the mid-bass is much less emphasized. There is still a modest slam which has been rationed for HBB’s tuning purposes. Less emphasis means more clarity and openness in the midrange, particularly the low-mids, most of the time. I love me some good and satisfyingly robust bass my friends. While the PR2 is not at all at basshead levels there is definitely a quality to the mid-bass which I derive from the nicely layered, textured and tight sound which comes across snappy and with good macro-details. Take the track “Lost Cause” by Billie Eilish. The PR2 exhibits an authoritative and pretty hard-edged rumble that is very clean. It sounds really nice and rewarding to my senses.Don’t get it twisted
I don’t want to get things twisted. I think these reviews can confuse some people or easily lead people astray. Please note that I do think there is plenty of low-end boom for hip-hop, metal, edm etc. In fact, depending on the track the PR2 can actually sound nicely weighted and accentuated. I think that the PR2 will faithfully playback what you feed it but it simply is more mature and won’t muddy up the waters with a gradual decline into the midrange.Thankfully the mid-bass still has enough emphasis for stuff like the fundamental body of a bass guitar. In “Feelin’ the Miles” by The Wilder Blue, I do hear some pleasing grunt in the bass guitar. What I like best is the detailed minutia that can be picked up in the process and the organic timbre in this region. There is a tactile type of surface structure to the sound which is nice for a planar iem and even nicer for $40. I am impressed.
Midrange
Low-mids
Male vocals come across more forward than they are recessed and have good energy. Note definition is well enough rendered as well. Timbre isn’t exactly spot on, but it also isn’t altogether unnatural either. Males from bass, to baritone, to tenors all have plenty of presence and a pretty good sense of musicality for the tuning style.In “Cover Me Up” by Morgan Wallen, his raspy southern drawl is well recreated to my ears. A song I’ve heard a trillion times (a slight exaggeration) replays pretty nicely on the PR2. Perhaps his voice is a bit lean, if anything, but it is also very well carved out and partitioned off to have a good dynamic presence. There is an openness or airiness that is nice. Again, the only things I’d say which are drawbacks would be the timbre is a hint lean and does have a slight planar tinge to it.
Sense of clean space
The song “Salt Water” by Ed Sheeran is very well done on the PR2. There is a sense of clean space with his vocals sitting a touch forward (recording), yet also slightly dialed back as far as dynamics goes. This is not a con by the way. His voice is kept in check. In the more spirited points in this track Ed’s intonations of his voice can come across a bit sharp at the edges with worser tuned iems. Edgy if you will. The PR2 slightly smooths those over while the rest of the track has nice macro-dynamics. I find the PR2’s lower midrange to be nicely rhythmical & melodious as a whole on this song. Maybe a hair thin. I say that, yet he still comes across with good texture and substantive vitality.Upper-Midrange
Females like Sierra Ferrell in “Whispering Waltz” have a certain controlled and soft sheen to them. It’s nice. There is a levity in her voice. Not the most organic or earthy but very effective at showing the emotion of the track. I promise that not every iem can do this regardless of the price tag. In the same breath there are some which do it better. I certainly wouldn’t say the PR2 specializes in female vocals, but I can surely add them to the list of the benefits of this iem. Also, for a true planar, I find her voice and the instrumentation to be very musical. Which, by the way, is a huge compliment to the makers of the PR2.The Ukulele in this track has great detail along with a nicely bodied sound. It sounds distinct and separated. Also, the acoustic guitar plucks ping then followed closely by natural sounding harmonics. There is a tactile energy to strings which I enjoy. The violin is almost haunting, melodic and buoyant with very nice verve, or spirit. They have a velvet-like tactile sound with nice depth encircling the instrument. This set is $40 friends… Just thought I’d remind you all, in case you forgot.
All things considered
The midrange is really nice in the PR2. Altogether there is good control in the whole of the midrange. I hear more smoothness than I do coarseness and no unevenness at all. It is a nicely articulated and cohesive sounding midrange. Perhaps dialed back a bit but still very musical. The midrange benefits from not having the veil or muddiness of the bass region but it also benefits from the rise in the treble and doing so without sounding harsh at all. I hear no sibilance or graininess, I hear no shout or odd moments of weird planar artifacts…It’s simply nice.Now, of course, if you want to spend more you can get better, but I’d have a hard time telling anyone they can find better at this price. There are a handful of sets within its price point which can play ball with the PR2… but they are few and far in between and none of those sets are planar magnetic iems.
Treble Region
I find the treble region to have good extension yet not even close to the shrillness that we have seen in past KZ planar iems. This is a true upgrade in my book. Some of KZ’s other planars have had a large rise through the treble region and while I thought it was tolerable (with mods or EQ) I did think that they needed a reduction up top. It appears and sounds as though HBB may have corrected this on the PR2. Mostly the crazy intensity of the treble has been cut back on this set which is very welcome. What you are left with is a nicely smooth treble region that doesn’t engage my ears with anything shrieking, invasive or harsh. The secondary harmonics of cymbal strikes are actually not splashy and truthfully the treble as a whole has a nice timbre. Extension is great.Listening to one of my go to tracks for treble activity is “Bishop School” by Yusef Lateef. It isn’t my favorite song in the world (by any stretch of the imagination) but it is great for rapid fire treble activity. This is a crazy style New Age Jazz track with instruments such as flute, bass, congas, drums, electric bass, electric guitar, percussion, piano, trumpet and strings etc. The best compliment I can give the PR2 is that it keeps up with this song and does so in a clean and pretty precise fashion. Separation and imaging in this track are very well displayed with a snappiness to every leading edge and a decent treble punch. Details arise quite easily as the treble is resolute, separated and balanced with the rest of the frequency while never too smooth to gloss over tiny micro details.
Safe??
I don’t think I’d go so far as to say the PR2 is for treble Heads, but the treble has good energy which uplifts and adds a luster to the whole of the mix without bringing upon anything too offensive, to my ears and with my library anyways. In fact, I would certainly say that the treble is mostly “safe” compared to earlier KZ releases. Again, mostly a smooth affair without anything grainy, shrill, or shouty and without sibilance to distract my listening ears with my library. In all I’d say that HBB and KZ did a fantastic job creating an earphone which will entertain the vast majority of hobbyists.The only treble complaints that I could see would come from very treble sensitive folks, or folks who enjoy a much lusher and warmer experience with toned down treble. Listening on the PR2 at higher volumes to tracks which seem to induce a peakier sound; there is a chance for a bit of harshness, but in my opinion, those are rarer than they aren’t.
Technicalities
Soundstage
The stage size of the PR2 is one that I would call above average. I perceive the PR2 to have a nice width to the sound which can be easily heard in “Hook” by Blues Traveler. Macro-dynamics are in pretty good abundance and the sound stretches past my ears with this track. Not stadium sized, but also if that is something you are expecting out of an “in-ear-earphone” then you may want to look on Mars for that, because planet Earth doesn’t have it.Height is about average, and I hear a good, layered depth for the price and driver tech. I am used to hearing planar iems with almost a “flat wall of sound” which normally doesn’t have the greatest depth, but the PR2 seems to buck the trend. The stage size, dimensions and realism is nice for the price, which coincidentally means it’s good for any price. Good is good.
Separation / Imaging
Like I stated earlier, separation is actually very well accomplished on the PR2. In each 3rd of the mix and everywhere between the 20’s I don’t really hear any masking or muddiness. Even on more chaotic songs the PR2 seems to delineate between instruments and voices nicely. I don’t think any of you will find fault with how well the separation is on this set. Imaging is the exact same story and walks hand-in-hand with how well the PR2 is able to partition off elements of a stage. You will hear decent depth and layering from front to back. Not mind-blowing, but for $40 you’d be hard pressed to find any iems which blow this one out of the water. Left to right everything has its place with vocals taking center stage most of the time and depending on the track of course.Details
Another thing I’ve already commented on briefly is the ability of the PR2 to bring the tiny minutiae of a song into the forefront of the imaginary stage. The PR2 has a nicely balanced sound, quick planar drivers and comes across resolute and focused, with “perceivably” tight transients, which is a good recipe for details. Whether it be the breath of an emotional singer, or well discerned and controlled harmonics, finger slides, or even the random commotion in your favorite live track, the PR2 can and will draw those things out.I wouldn’t call the PR2 a “Detail King” but just by virtue of the driver type and tuning alone; I’d say it is up there with the best at the price point, no doubt about it. I’d also say that if you enjoy a nicely detailed sound yet also enjoy a good dynamic and fun signature then say less and look no further… The PR2 may just be what you are looking for.
Comparisons
**Note: Each comparison here is not a duel to the death. I don’t find that very helpful in subjective comparisons. I compare attributes between sets, simply to better acquaint the reader with how the iem I am reviewing sounds. However, during the process I do think you will gather which set is better for the price or style for you, at least that is what I’m trying to do. Each comparison is mostly done with iems that have similar driver types or are priced similarly. There has to be some relatable quality to qualify a reasonable comparison. I try to keep these comparisons pretty short and somewhat concise and so I use very general terms, nothing in-depth either and always my subjective thoughts over fairly long a/b sessions.**KZ PR1 Hifi ($45-60)
The KZ PR1 Hifi is the first set I thought of to compare with the PR2. It too has a full range Planar Magnetic Driver and shares much the same shape and design style as the PR2. The Hifi was KZ’s answer to the much maligned earlier Planar iem the CCA PLA13. I reviewed the PR1 Hifi last year (KZ PR1 Hifi Review) and gave it pretty good marks (average) as it held its own in the budget iem world. However, it does have its faults. Still, at the time it was a good starter iem for anyone wanting to experience a “true planar” iem at the fraction of what most Planar iems were going for.
Bass region
Between the two the PR1 has more of a bass emphasis. It hits harder and has a greater rise in the mid-bass area which adds a warmer hue to the whole of the mix. The PR1 comes across more V-shaped, but also it sounds a bit more congested and much more bloated and intrusive. The PR2 is much cleaner down low with just as good, if not better extension into the lowest of the lows. I would say the PR1 has better density in its bass but the PR2 has a more precise, textured, and layered sound, with better punch while highlighting macro-details much better. The PR2 has fantastic bass quality compared to the Hifi which has an otherwise immature forceful rise down low. It isn’t horrible but it certainly doesn’t compare to the lesser priced and newer PR2.Midrange
The PR1 is a lot warmer due to the overdrawn mid-bass push and spill-over into the midrange which (in my opinion) adversely affects male vocals and does add a slight veil over the region. The PR2 on the other hand drops that mid-bass down and adds emphasis to the sub-bass. This effectively frees up male vocals to sound much more neutral sounding, airy, detailed and clean in comparison. Females on the PR2 have more of a shimmer, or controlled sheen, and a musical nature with greater resolution. Really it seems that in all aspects the PR2 is an upgrade from the PR1 Hifi and the midrange perfectly shows this. Timbre is also much better as that was one area that I thought the PR1 needed some work. I don’t hear nearly as much of that metallic type of tinge to the note outlines on the PR2.Treble Region
The treble is one area that I think KZ made the biggest difference. The treble of the PR1 Hifi was greatly emphasized. Extension into the air region was great, but there was a shrillness and shoutiness to my music which prompted me to modify the PR1 anyway that I could tame it. The PR2 is much better tuned as everything is brought back down to earth on this set. The PR1 gave a false sense of detail and perceived resolution with the forced rise up top, whereas the PR2 does so with a more natural timbre and lifelike replay while dialing back the treble.Truthfully this one is a no brainer for me. Unless you adore a greatly boosted treble and would love a bit more slam in the bass. I think the PR2 is an upgrade across the board and was exactly what KZ needed to do to truly create a fantastic Planar iem at affordable prices.
Celeste Pandamon ($59)
Okay now this may be a bit of a stretch to compare the two. First off, the Pandamon is not exactly a Planar iem. There was much debate on the topic upon its release, and the release of its predecessor… the Gumiho. I reviewed the Pandamon last year (Celeste Pandamon review) and admittedly adore the sound. Of course, it also costs a little bit more as well.
I would say the Pandamon is a hint more neutral, but both sets have a very mature sound and, in my mind, can go toe-to-toe with each other sound wise. Maybe not a perfect comparison but they do share similar tech as the PR2 is a true Planar Magnetic iem and the Pandamon is actually a “Square Planar” iem. Still a Planar but with subtle differences which I will not explain here. One noticeable difference is that the Pandamon is much easier to drive than the PR2.
Bass Region
What exactly are those differences? Let’s start in the bass region. As far as which set offers more of an impact and raw bass density, I would say that both of these are close, but the PR2 actually has more emphasis in this regard. The Pandamon does have a snappy and punchy low-end with a speedy driver as it matches the PR2’s ability to sound textured and layered down low, but if straight bass density and impact is what you are after, and it is between these two iems you are choosing from… I would imagine the PR2 would fit that bill a touch better. I think the PR2 has a tighter bass for things like bass drops and more grunt for bass guitar as well as better rounded and fuller sounding kick-drums.Midrange
Both sets offer a well-placed midrange, not too forward, not too recessed. The Pandamon and PR2 are both pretty melodic as well, but I would say the PR2 actually has the better macro-dynamics and fullness with a more detailed midrange while both come across as clean and kempt. Male vocals come across a hint thinner on the Pandamon but this is not really an issue as timbre is fantastic. Really, I see neither of these sets head and shoulders above one another.I do think the PR2 has the more effervescent and livelier upper midrange for female vocals. The Pandamon sounds smoother to me throughout the mids with less chance for shout. However, it also sounds a hint more dialed back dynamically. I suppose there is a give and take with both iems. The PR2 is a little better defined but also can be more intense to a degree. All that said, I think both iems sound great to me. Perhaps the PR2 has a bit more of a dynamically expressive sound where the Pandamon is a little more laid back in comparison, but my brain can easily adjust and begin to adore both interpretations of my music.
Treble region
Most certainly the PR2 shines a bit more in this area as the extension is better up top as well as the detail retrieval. The PR2’s treble has a more vibrant punch to the smoother and safer Pandamon. This is really a question of preference between the two. Both sets offer a well composed treble region with a slightly different tuning. Neither sets sound shrill or sibilant and neither of these two offer a ton of shout or pierce up top. Though, of the two, the PR2 will not be good for the ultra-treble sensitive, especially at higher volumes on piercing type tracks. The Pandamon is definitely the safer choice there.Again, this is a question of preference. To be honest I find the Pandamon to be one of the best iems under $75, and for good reason. It is tuned wonderfully with that close to neutral sound which is very clean and smooth. The PR2 hangs right there with it and even overtakes it in a few key categories. Do you want a dynamically controlled, expressive, vibrant and detail-oriented set? Or do you prefer something punchy, pretty precise, balanced, smooth and with great organic timbre? Both are absolutely fantastic options, and both are priced extremely well. The PR2 is certainly built much better and looks more mature whereas the look of the Pandamon is pretty polarizing, but both sets offer a unique and low-cost Hi-Fi experience.
TangZu Zetian Wu ($149)
The Wu Zetian or Zetian Wu, is one of those sets that quite literally changed the game to a slight degree. Now, at the time of its release the OG Raptgo Hook-X came out (Review HERE) and already kind of “owned” the top spot as far as planar iems goes, for a great majority of folks anyways. However, the Zetian came out and was lauded by hobbyists for its great timbre, balanced sound and overall dynamic and fun replay. BTW, I am not including the Hook-X in comparisons because it just doesn’t make sense. The Zetian is much closer in tonality and timbre and is a logical comparison. TangZu created a fantastic set in the Zetian Wu which is still a good buy at around $150. Still, I said this is a logical comparison and the PR2 costs $40 soooo…I’m not saying anymore, let’s compare the two shall we.
Bass Region
The first thing I notice in the bass region when comparing these two sets is the emphasis sounds more pronounced on the Zetian. Both in the sub-bass rumble and haptic feel to the mid-bass slam. The graph will tell you otherwise… Liar. Possibly the PR2 has a bit quicker attack but the Zetian seems to have a hint more sub-bass rumble, and possibly a bit more slam, but that’s it. Both sets are solid down low while the PR2 is a bit snappier, but both have that slightly softened leading edge with nice density. Both have a nicely textured bass as well. Neither are bass head iems but both can represent most genres perfectly fine. The Zetian offers greater rise in the low end, giving a warmer hue to the sound and comes across a little bit less like a planar timbre-wise and closer to a dynamic driver.Midrange
The Zetian comes across a bit thicker in note weight in the lower mid region and more forward when listening to male vocals. The PR2 is slightly less smooth in the lower mids but not to any detriment and in fact it adds some nice definition to the PR2. I hesitate to call the PR2 “cleaner” as I don’t think that’s the case but perhaps the slightly cooler sound makes it perceivably more resolute. Females follow much of the same trajectory as they are further back to a slight degree, less note body but more shimmer. Vocals and instrumentation sound lusher in general on the Zetian but the PR2 sounds slightly more detailed and more open and separated to my ears.Dynamically the Zetian has more of a spirited and compelling sound. It’s more forward and simply more intense to a small degree. This certainly doesn’t mean the PR2 is not this way but the PR2 is more controlled throughout and simply offers a different take.
Treble Region
The PR2 has better extension up top and is possibly more vibrant but the Zetian has the more musical treble region. Once again, it’s smoother and easier to digest over long periods. The PR2 sounds a bit better balanced across the mix yet with a nice rise in the treble which perceivably draws out details a bit easier than when listening with the Zetian. The differences are not huge but there is a slight bit more luminance on the PR2.Technicalities
Soundstage sounds a bit wider on the PR2, more spread out and deeper yet slightly less tall than the Zetian. Not exactly better. The Zetian is a more intimate listen yet also more musical than the PR2. It’s fuller, more present sounding, macro-dynamics of the Zetian are a touch more expressive too. Again, the Zetian has a more dynamic and fun sound while the PR2 sounds a bit more controlled altogether and slightly dryer. The PR2 is just as resolute while sounding tighter and with better controlled transients. Again, details rise to the surface easier on the PR2 while the Zetian is smoother, warmer, more bodied and with slightly more lifelike and a more emotional sounding timbre throughout.It can hang
Folks, I am impressed by the PR2, flat out. The fact that it not only hangs with the Zetian, but even bests it in a few categories is saying a lot for a set which costs so much less. The only other differences to note is that the PR2 is harder to drive and naturally has far worse accessories like the cable and it lacks a carrying case. We should expect this though. However, what counts is in the music and the PR2 absolutely bodes very well against one of the better Planar iems under $200.
**Note: There were a number of other planar iems that I was going to compare with the PR2 but simply ran out of gas fellas and ladies. The TRN Rosefinch came to mind but unforeseen circumstances destroyed any chance of that happening. Plus, it wasn’t going to be positive for the Rosefinch… at all. Proving that it’s definitely not easy to create and tune a ultra cheap true planar iem. I was going to compare the Letshuoer S12 Pro as well but I think the S12 Pro is simply a step up and not really a logical comparison, in some regards. Close, but at the same time quite a ways apart. I will gladly edit this review if any of the readers would like to read my thoughts about the two.
Is it worth the asking price?
I sound as though I’m on repeat reviewing these KZ iems of late. Friends, the KZ X-HBB PR2 is worth every penny. It’s pretty much irrefutable at this point. This is actually a silly question to even utter. What KZ and HBB managed to create and successfully put to market is a very low-priced planar iem that actually takes on other planar sets costing four times the amount. At the very least the PR2 has a seat at the table folks.The PR2 is built very well, it’s comfortable enough (at least for me), and has a confident and sleek design. The PR2 is a detailed, technically proficient planar iem which is balanced across the mix and with good timbre for a planar… at any price. Transient attack/decay/sustain is snappy, prompt, measured and controlled which should be expected for a $150 planar iem, but for $40 it is a nice surprise. I don’t think I’ve mentioned enough about the timbre because this is one area that really turns me off to planar sets. There isn’t any of that metallic, electric sounding inflection and overtone that is a residual from the driver tech. I don’t get that in the PR2 as much as I have with sets that are more expensive, which is a testament to KZ and HBB’s ability and expertise.
It’s worth it!
So yes, the KZ X-HBB PR2 has quite easily managed to make it to the top of my personal “top five under $75” (for what it’s worth). Now, there are quite a few great sets in this price point and the PR2 has a lot of competition from different iems with different driver configurations. Despite that and considering all that the PR2 offers, I think it’s a shoo-in for most people’s “best-of” lists.Yes, the PR2 is most certainly worth the $40 that KZ is asking for and I think it is the only iem that anyone should purchase if they are interested in purchasing a planar iem for the first time. Especially if you are tight on funds. Which happens to be most people in the world. In fact, I’d say with assurance and without question that all roads should go through the PR2 where first time planars owners are concerned. The only pause I would give anyone is if you don't have a decently powerful source to drive this set.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the XHBB PR2 ratings below, that would be $30-$50 iems in any configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $30-$50 US is a small pool in the grand scheme of things and so seeing ratings above a “9” is understandable.Aesthetic
-Build Quality: 8.9-Design: 9.5
-Accessories: 8.0 (at this price I won’t calculate this score for this particular category)
Overall: 9.2
Sound Rating
-Timbre: 9.0-Bass: 9.7
-Midrange: 9.2
-Treble: 9.2
-Technicalities: 9.8
-Overall: 9.3
Conclusion
There you have it folks, that is my review of the KZ X-HBB PR2. Most certainly, I do hope this helps at least someone in a purchasing decision. I want to again thank KZ and Tyvan Lam for providing the PR2 for a full review. I must add that I hope every reader checks out other thoughts on the PR2 as it will only help get a better understanding about this set and about the reviewers as well. We all have different likes and dislikes, we can have varying music libraries and favored genres, I’m sure we don’t all have the same audio gear and sources, and we haven’t all been down the same audio journey. We are all different and so hearing other perspectives is very important. Thank you for reading, it means a lot everyone. Take care and stay safe.
Attachments
Ceeluh7
I'd say the KZ D-Fi, KZ ZVX or maybe the QKZ X-HBB. Even the $12 KZ EDXS is a very well done set. Of the four I'd start with the ZVX or the D-Fi.
ext23
I'm also a long-time fan of the sound of the Blon BL-03, but I'd prefer to avoid bass-heavy sets. Which of the ZVX or D-Fi would you recommend? (Sorry we are going so far off-topic here.)
Kumonomukou
The comparison to PR1 Hifi was helpful. I thought they were okay but sort of unnatural in some ranges. Guess I'd give this similar model another shot for my biannual Chifi dose.
KZ D-Fi (Tuning Version) Review
KZ D-FI (Tuning Version)
Intro
Another day, another KZ budget set to review and today I review the KZ D-Fi. The KZ D-Fi is KZ’s latest single DD iem that just so happens to come with tuning switches, or you can purchase the D-fi without the switches. One is called the “Standard” model and the other is the “Tuning” version. The KZ D-Fi “standard” version is simply the KZ D-Fi without tuning switches and obviously the KZ D-Fi “tuning” version has the four switches so to better dial in the sound to one’s preference. I have to thank Tyvan Lam and the good people at KZ for providing the D-Fi “Tuning” version in exchange for a fair and honest review.They never rest
KZ/CCA is doing what KZ/CCA does my friends. They must never rest because every week it seems they have developed a new set for the market. I’ve been impressed with this company for some time now and have had great experiences with their budget iems. I’ve reviewed quite a few from KZ and CCA. Recently I’ve reviewed the KZ ZVX which I personally consider as one of the best sets in its price point… hands down! I reviewed the Ling Long, the EDCX, the KZ PR1 Hifi, the CCA CRA+ and even some tws iems like the KZ VXS. Another fantastic set that I reviewed last year was one of my favorites, the KZ AS16 Pro. They are all very well-conceived and well implemented iems that all compete well in their respective price brackets. The key words are “in their price brackets”.Budget Kings
Other companies come out with nice competitive sets, then KZ just ups the ante and makes something better. I swear they take that budget crown more seriously than anything else, and I’m glad they do. I do believe that the majority of hobbyists across the world can really only afford budget sector iems and audio gears, and so I can understand KZ/CCA’s line of thinking. What is most surprising is that KZ seems to always one-up themselves with every new release. With that said, let’s see just how well KZ has done with their latest budget sector iem. Is the D-Fi a budget success or a dud, we shall see….Purchase link: KZ D-Fi Tunable Version
Gear Used for this review
-Fiio UTWS5-Ifi Go Blu
-Moondrop Dawn 4.4
-iBasso DX240 with Amp8 MK2
-Shanling M6 Ultra
Full Review HERE
Packaging
The KZ D-Fi arrived at my door in a simple packaging not much unlike any KZ budget product. Nothing fancy and never over the top. KZ is not trying to wow the buyer with the unboxing experience, and I am more than fine with this. Listen folks, at this price I would much-much rather that KZ or any budget iem maker put the extra cost into the earphones themselves than into the graphics on the cardboard box. So yes, it isn’t some grand and amazing unboxing but… yes but… When you open the box and you see those beautifully made D-Fi iems staring back at you, please trust me the unboxing cares go right out the window. Underneath the earphones you’ll find the cable and eartips as well as a “micro sd pin” for the tuning switches. That’s it, good enough for me. Moving on…
Eartips
KZ went a bit out of the norm with the D-fi and added seven pairs of eartips. The D-fi themselves came with a pair of medium sized foam tips which are of nice quality. They also added three pairs (L, M, S) of a wide bore white set which are also of great quality. I like the firmer flange which helps in sealing. The other set is remarkably similar to Tennmak Whirlwind eartips which are fantastic tips that are so very well structured, and firm and they too are a wide bore set of eartips. Really a great job by KZ with the tips alone. I will use each of these pairs of tips on… something.
However, I actually went with my tried-and-true KBear 07 Large tips. Honestly, I actually do think that KZ really stepped up their tip game for the packaging with the D-Fi. In fact, it is strange because you don’t see them doing that often. Every now and again KZ will add a accessory that they don’t usually package, kind of like the carrying case provided with the Ling Long. Same thing here. All tips are very usable and a good thing to have in a collection. I use the KBear 07 tips simply for fit reasons and because they do add a certain punch and dynamics to most earphones. Normally the bass region will see a slight boost along with the upper midrange, but that is a case-by-case thing for the most part.
Cable
Okay so the cable is kind of a downer. I of course wasn’t expecting something fabulous and beefy, but I also would’ve liked to see a different cable than the one we always see with KZ/CCA’s earphones. Same QDC style OFC 2-pin cable which ends with a 3.5 single ended jack and the opaque rubber material covering. Not a bad cable at all but also not that great. I listen mainly on balanced and so I did swap cables to a brass colored 8 core Fedai SPC Cable, it looks fantastic meshed with the silver of the D-fi and sounds fantastic with it. Balanced listening does add some life to the sound, but I will explain more on that later.
Build / Design / Internals / Fit / Drivability
Build
KZ went with a very durable and hefty all metal alloy build which is very nicely put together at this price point. Ya know, KZ also created a fine built set in the ZVX as well. They are really dialing it in lately with these metal shelled budget iems that far exceed what we are used to at these prices. Now, it is not unheard of to see alloy shells under $30 but the quality is what sets the D-Fi apart in my opinion. The faceplate area has a wavy pattern to it with a good-sized vent hole near the rear.Due to the all metal build, there is the possibility that this set may be a bit too heavy for some. I could certainly see the comfort being a problem for some folks. Now, it doesn’t bug me even in the slightest, but I know a lot of my friends in the community may have a difficult time keeping the weight distribution in check. Basically, the D-Fi may find its way out of your ears with movements or with different eartips due to the weight. Don’t get me wrong there are much heavier sets out there, but I do think it’s worth noting.
Tuning Switches
The tuning switches are on the very back of the D-fi perfectly seated without any imperfections (which I expected to see). You’ll notice an on & off markings labeled above each switch pad as well as 1-2-3-4 labeled at each localized frequency changing switch. All switches can either be flipped up (with the needle tool) for “on” or left down for “off”. The first three tuning switches each affect the low end by adding one decibel increases to the bass region while the last switch affects the entire frequency band. For the purpose of this review, I will call down “D” and up “U”. My favorite switch orientation is either UDDU or UUDD. For this review I am mostly using UUDD.
Not a huge difference
There is a slightly audible difference in the switch changes which gives credence to even having them in the first place. The switches have to work friends, who’da thunk it? Now, please don’t get me confused here, it isn’t exactly like the switches make huge differences. I don’t feel like I have 16 different earphones in one. It has been advertised as well as promoted from certain audio personalities as well as KZ themselves that you can get 16 different and unique tuning options. This is not the case my friends. Yes, there is an audible boost in the bass area but not really a huge change in the overall sound.For instance, raising the first switch to “on” will bump up the bass region one db. Raising the 1st & 2nd switches to “on” will now bump up the bass two dbs. The 3rd switch will also add one more db and so the difference is not very large. Turning on the last switch takes the entire frequency up four db’s across the board. So, it is an odd switch arrangement that KZ chose but not bad by any means. The switches really only focus on the bass region which concurrently affects the overall sound in subtle ways.
Anyways, we have seen an onslaught of tuning switches of late in the budget sector. Of course, you used to have to pay quite a bit for switch arrangements like we are seeing now. The switches work exactly as they have in the past where they will need something small enough to push the switches. Again, KZ added a micro-sd card pin within the packaging, but you can also use a paperclip or something similar. I actually have a toothpick at my bedside to switch it up and that works perfectly fine.
Design
This set does not look or feel like it costs. Not even close! If this means anything at all to you, then you are in luck with the D-Fi. The design is truly fantastic with a very highly polished exterior in a mirror type fashion. The D-Fi looks confident, clean and aesthetically pleasing to the eye. It’s quite amazing to me that a premium look can be sold and purchased at budget prices, yet we are seeing this more and more lately. They have a wavy pattern on the faceplates which breaks up the monotony of an otherwise utilitarian design and actually creates a look that is fresh and somehow modern looking. I think KZ really knocked this one out of the park in terms of looks.I should add that this high-polished look also will capture every little fingerprint and may scratch easily as well. It doesn’t bother me in the slightest, but it should be noted. I know there are those sticklers out there that may be put-off by this.
Internals
KZ chose to use a 10mm Dual-Magnet Dynamic Driver which rests in a Dual-Cavity. KZ highlights the dual-magnetic structure in their advertising saying… Ya know what, I’ll let them tell you themselves…. [“KZ D-Fi adopts the exclusive custom dual-magnet & dual-cavity dynamic driver. Dual magnetic means a dual magnetic circuit whose magnetic field is enhanced by superimposing the magnetic force of 2 magnets to achieve energy efficiency and stronger transient performance.”] – KZ Promo.The other highlight is the implementation of the “Zobel Network” which is a departure from traditional tuning methods that use dampers and different tuning mesh among other tricks to get the desired tuning result. The Zobel Network is actually a network of resistors that can be tuned to cancel out the effects of capacitance and inductance. Basically, the Zobel Network compensates the rising impedance of a driver in the upper frequencies due to inductance in the voice coil. I hope that makes sense because I am not going any further with the explanation which “may” or “may not” be due to my ignorance in the subject. I suppose it’s a good thing that I’m not reviewing Zobel Networks.
Fit / Isolation
I still have zero idea why I add this section into any review? However, I will keep writing about it whether it makes sense or not. I can only speak on how the fit relates to my ears so I don’t know how helpful this will be to anyone else. For me personally, the fit is pretty nice. I do have to fiddle around a bit, but once I get that nice seal the D-Fi does very well for me. Isolation is about average, not unlike any earphone short of something meant for stage use. There isn’t any real sound leakage either, at least not to a degree that you should be concerned about.Drivability
The D-Fi is not a difficult earphone to drive but it can certainly benefit from extra output power. Rated at 29-48 ohms with a sensitivity of 113+-3 dbs the D-Fi can be driven fairly easily from most any source. I used the D-Fi quite a lot with the Fiio UTWS5 which only has a Max output of around 50mw @ 32ohms. Not exactly a powerhouse but fantastic for more sensitive iems. I found this to be a perfect mobile pairing only if I have the fourth switch turned on (which decreases the impedance). The warmth and organic nature of the UTWS5 created a lovely synergy.Another great mobile solution is the IFi Go Blu bluetooth amp/dac. The Go Blue really adds some muscle for such a small device. Listening on 4.4 balanced there is this dynamism, which is an obvious improvement and again, great synergy friends. The Go Blu has the popular CS43131 dac onboard and the D-Fi really responds well to it. The warmth of the Go Blu seems to counter the more neutral sound of the D-Fi which makes it a good mobile bluetooth option.
Dongle Dacs
One of my absolute favorite dongle dacs of any that I’ve ever tried is the Moondrop Dawn 4.4. People, if you have $69 laying around and are in need of a solid option for on the go listening, please trust me, get the Dawn 4.4. The D-Fi again reacts well and doesn’t get too bright or sharp but rather the Dawn emphasizes the D-Fi’s strengths. The Dawn 4.4 also uses the CS43131 dac but the tuning is what sets this pairing over the top.Daps
Moving onto the iBasso DX240, with its ES9038Pro chip or the Shanling M6 Ultra with its AK4493SEQ chip. The slightly more analytical yet dynamically expressive sound of the DX240 using iBasso Amp8 MK2 module with the D-Fi gives off a clean yet punchy sound that sounds nicely airy with great note definition. The downside is that it can become too sharp in the upper mids on rare occasions. Turning to the M6 Ultra, it has a slightly warmer, more lush, more beefy sound yet still remaining airy and resolute. I found the D-Fi is much more to my liking with this pairing. Almost as though there was better control in the upper parts of the frequency whereas with the DX240 I do hear a touch more of a loose note definition.Very quickly, when the fourth switch is turned off the D-Fi is a bit harder to drive. Lower powered sources will have a harder time properly bringing the D-Fi to a good fidelity. For instance, I decided to use my iPad 6th gen just to see how well it pushed the D-Fi with the fourth switch off and the sound was pretty bland without any real dynamism or vivacity. In the same vein, when all are turned on, the D-Fi is generally much easier to drive to that spirited and full-bodied sound. This of course makes complete sense, but I did want to spell that out for the readers here. What that boils down to is, try to get a nicely powered dongle dac and you’ll have more than enough to properly drive this set to enjoyment.
Pint Sized Sound Impressions
I won’t go too crazy into detail here, but I will quickly outline each of the three main areas of the frequency response (Bass, Mids, Treble). The D-Fi can go from almost neutral (slightly colored) to warmer in its tonal coloring depending on switch orientation. We have seen this movement back to neutrality of late and it’s had a nice reaction from hobbyists. The D-Fi walk that neutral line for the most part with subtle coloration occurring in each switch orientation. Remember, the D-Fi switches don’t make the biggest difference in the world, but they are differences nonetheless and they do slightly affect the airiness, crispness, openness of the stage and obviously low-end emphasis among other attributes. To me (using UUDD) the D-Fi is more of a U-shaped sound, maybe a very slight V-shape. The D-Fi has a nice symmetry in its frequency response, or a nice equilibrium, which seems to have a coherent uniformity of sound in each 3rd of the mix. What I hear is a warmish-neutral sounding set with a good dynamic balance, the D-Fi is mostly natural and organic, depending on what your idea of natural and organic is. Transient attack & release is perceivably quicker on attack with a slightly less quick release, for the most part.
The frequencies
The bass region is on the lighter side and doesn’t give me that robust sound like I hear on most KZ sets. It isn’t absent from slam but it certainly isn’t super beefy. The sub-bass can growl and represent pretty well and has a moderately effective haptic vibration. The mid bass has just enough impact for genres like hip-hop, EDM etc. The midrange is presented more forward but definitely not “in your face” or shouty. There is a smooth nature to the mids which have only okay resolution for the price with a more natural sound. The treble has nice energy and decent extension into the highest of highs. I hear a transparent, smooth, high fidelity type treble which adds nice details. The soundstage is above average in every direction and the D-Fi has a technically astute sound for a single DD under $30.
Bass Region
The bass of the D-Fi is not at all close to basshead levels. Bass Bois will likely not find the D-Fi too enjoyable. Those who will enjoy this bass region are those people who embrace a more even bass that isn’t pushy or exaggerated, basically more mature in sound. The bass is emphasized to a slight degree while leaving room for the other frequencies. I would call this a quality bass, or a controlled bass. Perhaps a bit soft in attack yet still has moderate density. I don’t think the bass is the strong suit of the D-Fi while in the same breath it also isn’t it’s achilles heel either. The bass is simply a nicely tuned part of a whole, an instrumental cog in the machine which offers support to the overarching sound. Don’t get it twisted though, It doesn’t lack either, as I still get a good and satisfying rumble and thump when called upon to do so. Sub-bass
The sub-bass is moderately deep. I would certainly say that the focus of the low-end on the D-Fi is more in the sub-bass. There is evident texture and a haptic feel in the lowest of lows with good extension, especially when you give this set a good amount of juice. So, don’t be afraid to add power, she likes it friends. While it isn’t the world’s deepest sub-bass, it is clean and dense enough. I don’t hear that statically fuzzy note definition or pillow-like leading edge. There is just enough abrasive texture to give a bite. Not perfect… but satisfying. In “Rich Off Pain” by Lil Baby & Lil Durk the bass drops a few seconds into the track, and I notice it isn’t the most concrete in its solidity, but the sub-bass still represents the region well.In spite of that last sentence, other tracks like “Jealous” by Nick Jonas does have a bit more sub-bass tactility and more of a concrete sound. So a lot depends on the track, source, output and switch setting. I suppose you truly get back what you give this set. It isn’t over emphasized and is more faithful to the recording than some budget iems. There are other sets in this price point which can bring a bit more of a hard edged delivery yet they can have other issues arise as well.
Mid-bass
The mid-bass has some slam to it. Still, like the sub-bass I will almost repeat myself as the mid-bass isn’t over emphasized at all while still giving enough heft in this area to replay those gratifying thump tracks. There is nice surface texture with a very tidy and kempt mid-bass boom, which has just enough of a rise to playback the bass guitar pretty darn nicely.The song “John Wayne” by Whiskey Myers has an abrasive bass guitar riff that is a bit dirty and really gets my head moving to the groove and the D-Fi is able to replay it satisfactorily. I wouldn’t call it the most robust or gritty sounding, but the D-Fi manages good texture that I can enjoy with enough emphasis in this region for my tastes. I can say for sure that we don’t hear anything akin to a mid-bass tuck which will nuder some of that bass guitar growl.
Kick drums also across rounded, bouncy, boomy yet never over accentuated. The natural texture is nice in the song “Billie Jean” by Weezer (Michael Jackson cover). The speed of the attack and decay comes across with each kick of the drum. Very slightly soft in attack yet also speedy and stout, with an organic fullness that is quality for a set at this price. Not the best I’ve heard in the price point but far from the worst. Again, it sounds as though it is a part of a whole and comes across clean, well defined, and adequately sonorous and boomy. This song is great for testing kick-drum texture and I enjoy how the D-Fi handles it.
I dig it!
I have begun to really enjoy the bass of the D-Fi. It has a richness to the bass which isn’t going to devour anything else. It’s clean and with nice clarity and texture which also adds in better-than-okay layering, depending on the track I’m listening to. No, it isn’t that deep vibration with a mega boom type slam, but in all honesty, I can find that for $15 at Walmart if I need that. Those sets are a dime a dozen. KZ tuned the D-Fi to sound airier down low, better separation and not congested or muddy or over accentuated. I could use a touch more clean bass but all in all… I dig it.
Midrange
The mids are presented in a musical manner, with an earthy and mostly undebased organic timbre which sounds close to neutral across the breadth of the midrange, which is saying a lot for an budget priced single dynamic driver. I love a good midrange that has a hint of forwardness without coming across too thin, or shouty, or a handful of other less desirable characteristics. Anyone who has been in this hobby long enough knows there is a balance which has to take place for single DD’s. Basically, this is a musical midrange with hints of color.The D-Fi’s ability to acquaint my ears with the coarseness of a Chris Stapleton song, or the soft eloquence of Gabrielle Aplin’s singer songwriter originality is nice to hear. Not 100% accurate but nicely rendered. The D-Fi costs very little in the world of iems, yet it has a refined nature to it which begs the question… “How much more does a person actually need?” or “How much more does one really need to spend?” No doubt about it, if I was stuck on a deserted island with only the D-Fi and my dap (with endless battery life of course) I would be perfectly content and happy.
Lower-midrange
Getting on with my actual thoughts about the mids. I hear male vocals which can (based upon your switch settings) either sound slightly hefty, lusher and warmer, or they can be edgier and leaner yet always transparent and melodic to my ears. I am going with “UUDU” in this portion of the review and so male vocals have an ever so slight bit of warmth and aren’t overly thick in note weight but there is still good density. Males sound solid, not fuzzy and they have a nice edge to the sound.Take a voice like Zach Williams in the track “Lookin’ For You“. The fundamental meat of his voice has nice body to it with an edgier and grizzled note texture but not warm with heft on the D-Fi. Nothing sounds accentuated or forced but rather he comes across organic in body. Or the track “Plain to the Plainsman” by Colter Wall. His voice is extremely deep with a certain resonance to it and is rugged and jagged. Listening with the D-Fi he sounds firm and controlled. Which just so happens to be exactly how he is supposed to sound. Not hefty or super rich in sound but natural and with a clean resolution. It is easy for a set to screw up his voice but the D-Fi sound nice.
Upper-Midrange
Females come across loud and clear with a neutral hue to the area. Definitely this is a more lustrous and shimmery type upper-midrange experience. Females really do sound illuminated and can even subtly cross into a piercing and edgy sound on some tracks. Be that as it may, for the most part this area sounds very clean, detailed, uplifted and with a focused resolution.Camila Cabello in “Never Be The Same” is a track that just douses you in her sensual and saucy inflections to her emotionally scratchy voice. The D-Fi catches every piece of grain within the rasp of her voice as it cuts through the melody with this aching and ardent yearning. I feel the D-Fi does this track justice. Yes, it’s a bit grating which is partially caused by her voice alone, but it’s also fitting as the song has this urgency and pining, almost a pleading within her voice. I suppose we must suffer those sharper articulations with her. The nice thing is she comes through crystal clear and rich enough.
Another song is “Whispering Waltz” by Sierra Ferrell. This is a singer songwriter type old school style folk country track which is absolutely beautiful in both instrumentation as well as her angelic voice. Her voice shimmers with elegance and a soft sheen listening with the D-Fi. Another emotionally centered song with her voice sounding so cherubic and harmonious as the Ukulele and Acoustic Guitar perfectly comes across with great separation and detail. She ahs a good and uplifted energy to her voice even in the more somber sonb. In fact, most females sound really nicely energetic, fully present and forward with this budget set.
Instrumentation
Instruments benefit greatly from this mostly neutral and tighter type replay. Strings sound a hair thinned out but not in a frail way. More like thin in a tighter way, because there is good substance and solidity to plucks from a guitar and the harmonics that trail off from there. The tight transient response keeps a more kempt and taut sound from strings which is very nice for this price point. Percussion of all types has a punch with good body within the midrange. Flute and violin both come across organic and pleasing to the ear.Are they really issues?
I don’t hear any glaring issues but not everyone is a fan of a more neutral midrange. Some yearn for a more warm, syrupy, or even dark sounding midrange with a robust thickness. Certainly, the D-Fi is not that.Also, there are very small instances of timbre issues in the upper mids. I hear a metallic or nasally sound at times. However, I only really heard this on a couple tracks. One being “Look At You” by Rebecca Black. I know reading the words “metallic” or “nasally” are keywords to avoid but this can be changed using the switches to a small degree. This is the reason as to why I went with the UUDD configuration. Before that I was more than happy listening with the UDDU settings. So that’s really it, some very slight timbre issues that to me aren’t even real issues.
Treble Region
The upper parts of the frequency have a very nice transition from the midrange. Perhaps the timbre could be a bit more natural, but we are talking about a budget iem here. The D-Fi’s treble region does have some crunch and punch to it. Listening to the fast-paced treble deluge from the song “Bishop School” by Yusef Lateef, the D-Fi shows off its pretty good detail chops as well as its nice extension. Also depending on the switch arrangements this song can absolutely tinge the senses in trebly delight. The D-Fi shows off good separation and imaging of each instrument. I would have thought that I’d hear some smearing, but the D-Fi are proving to be a pretty mature set. Mostly non-offensive affair
Like I stated, the D-Fi has nice extension into the upper parts of the frequency. I get nothing piercing or shrill. I also don’t hear anything really metallic or bothersome. It seems that KZ tuned this set to be listenable and non-offensive. Like I said, I hear nothing shrill with instrumentation. Instead, I hear nicely diminishing harmonics from cymbal strikes that don’t sound splashy to me.For instance, “In Bloom” by Nirvana has a lot of treble activity to begin this track. On a treble lifted set, this song can sound almost pain inducing. The D-Fi is able to cut out the cymbals amongst the chaos jamming out around them. Most sets I will hear some masking going on and there is some of that to a degree on the D-Fi, but the balanced tuning does help. Perhaps they sound a bit tinselly and not perfectly natural, but they don’t come across weirdly splashy. If that makes sense?
Good for instruments up top
Now, instruments with their fundamental frequency and body of the sound within the treble region, I like what I am hearing from a $30 iem. Flute, Sax, Electric Guitar & Violin are a few which take center stage in some tracks within my library of music. Like I said, the treble has a okay punch to it, slightly crunchy, slightly smooth and never offensive.No, it isn’t perfect, but it is very well accomplished for the asking price and does very well to round out the entire mix adding a nicely controlled luminance, and NOT to a fault. This bodes well for instrumentation in the treble region. Some may argue that the timbre may not be spot on, and I can understand that, but the amount of pickiness that it must take to declare that a “con” is pretty ridiculous. At $23-30!? I hear nothing that is wonky, tizzy or tinny or too dry or too sheened out in glare or shrillness. I hear a nicely airy presentation with a nice lift which makes for a decently good replay for instruments in my library.
Technicalities
Soundstage
I feel like this review already sounds like the hype train is boarding. I am giving you my word that this is not the case. The D-Fi is a very well-tuned set, this is only true, of course, if this tuning agrees with you…by the way, it agrees with me. I prefaced with that to say… The soundstage has nice width and openness to it with a sense of space to the sound. Still, height is above average against the crop of similarly priced iems and depth is there to add a sense of 3D. Anyways, to check for soundstage, my notes include a hit from the nineties called “Hook” by Blues Traveler. The recording alone sounds wide and will easily show you how vast of a stage your earphones can get you. There are a number of tracks which are good for this but this is simply in my notes. Again, the D-Fi sounds above average and stretches past my ears in width.Not a concert hall
Just like any set of iems, you shouldn’t be expecting a concert hall type of listening experience. This just won’t happen. In spite of that, some iems can stretch the psychoacoustic stage and a lot has to do with the tuning among other things. Anyways, the D-Fi does a decent job at helping me to perceive an appropriately sized stage for my musical library. You will not be taken aback at the vastness on this set but also, nothing stands out as congested either. There isn’t any closed in feeling at all. We should expect an average stage size at the very least and I’d say that you get better than that from this set. The nice thing I hear is the depth and the relative accuracy of the image created with nice space in between elements of a stage.Separation / Imaging
Separation is good. As with most single DDs there can be a bit of masking and smearing in chaotic and congested tracks with a lot of commotion happening. Still, the D-Fi actually fares okay in these situations. Not perfect by any means but not bad either. Anything less than a very chaotic song and the D-Fi separates very well with localized and partitioned elements of a stage. Imaging is also nicely rendered. The imaging is great left to right as well as forward and backward. Again, in more congested tracks things do muddy up a bit and you’ll lose some of the perceived imaging but all in all, I think the D-Fi do very well in these two categories. In fact, I’d say it’s one of the D-Fi’s strong suits.Details
The D-Fi offers a reasonably well-done detail experience. Certainly not detail kings but very good against similarly priced iems. Which, by the way, is the only really good stick to measure these against. How do they fare against others in the price point? I can say that there are sets which bring the subtleties to the surface better and for cheaper. Sets like the 7Hz Zero and a few others are tuned to elevate details. That being said, the D-Fi has other attributes that it offers which are much more important to the overall listening experience. Now, with that also being said, the D-Fi has a cleaner sound with a good transient response and an uplifted, non-veiled, and open sounding approach and so details naturally aren’t bad at all. You aren’t missing much my friends.Full Review HERE
Comparisons
Note: I want to preface these comparisons with a few underlying notes. First, I mainly use the “UUDD” setting on my D-Fi which is my favored way of listening. Also, I compared all sets using a balanced cable on my Shanling M6 Ultra. Another thing, this is not a duel to the death, the only reason I even compare iems is to better explain the set I am reviewing, and these will be very generic explanations to quickly describe some differences without going too in depth. KZ ZVX ($18)
The KZ ZVX is a bona-fide STUD my friends. I adore its tuning, truly. I would have never imagined you could get such a well-tuned iem at this price yet here we are. Is the D-Fi a true upgrade? I suppose we shall see. The ZVX is another amazingly built tank of an iem which is offered at a ridiculously low price and outperforms sets which double it or more. No joke. The ZVX also uses a 10mm Dynamic Driver and also uses the Zobel Network, like the D-Fi. I gave this set great marks and have zero issues rating it in my top three in the ultra-budget space. Possibly number one. Check out my review of the ZVX HERE.
Bass Region
Between the two of these sets, I can plainly see that the ZVX has more of a low-end emphasis and a bit more rumble and slam. In fact, I’d probably say that this is one area where the ZVX sounds a bit more fun to me. Of course, I enjoy a healthy dose of quality bass. That said, the difference is pretty minimal, which by the way is something you will have to get used to hearing in these comparisons. The D-Fi however has a smidgen better clarity to my ears as well as better texture to this area based on the tracks I used for testing. I’m sure this is debatable. What it comes down to is, they both sound very much alike with roughly a 5db boost in the sub-bass through the mid-bass on the ZVX. This of course depends on which switch setting you decide to use in the D-Fi.Midrange
The D-Fi sounds more neutral than the warmish neutral ZVX. The ZVX renders male vocals a hair thicker and more pronounced. Not necessarily more forward but slightly lusher I suppose. However, the D-Fi has that sharp inflection in a male’s voice that just gives vocals that last bit of clarity. Neither is really triumphant over the other, honestly it is really just a question of preference. The ZVX is smoother in the whole of the midrange while the D-Fi is the cleaner, more resolute and more detailed of the two. The D-Fi draws female voices ever so slightly more forward with a more neutral and organic timbre. Less color I should say. With that said, the ZVX sound very natural in their own right and also sound nicely detailed yet only a little more smoothed over.Instrumentation has an airier quality listening on the D-Fi, a bit better detailed with a better transient attack and decay in the midrange. There is a snappiness to the sound while not coming across sharp. I would say the ZVX is very similar yet with a slightly warmer hue. To my ears the D-Fi have a bit more energy with a more vibrant display of instrumentation. However, to my ears I do like strings on the ZVX a bit more, while I like percussion a bit more on the D-Fi.
Treble region
I find both of these sets to have a mostly non-offensive sound, and both have good energy up top. Certainly, both of these iems have enough presence up top to elevate the entire spectrum. Definitely not the most elevated or extended but both are nice. Between the two I think the D-Fi stays a hair more in control, but man is it a slight difference. As far as actual treble quantity, the ZVX does have a little bit more of an emphasis with a more forward treble region. Both sets have a softer attack, and both bring upon details relatively nicely.
Kiwi Ears Cadenza ($35)
Oh, sweet Cadenza, you are an alluring and beautiful iem. I reviewed the Cadenza in January of this year HERE. I was nothing short of impressed with this set. The Cadenza is outfitted with a single 10mm Beryllium coated Dynamic Driver and it is a fantastic all-rounder type of set that quite easily sits in many best under $50 lists. It is a striking iem which offers a slightly different tuning then the D-Fi but does punch above it’s price in my opinion.
Bass Region
As far as differences go… in the UUDU configuration the D-Fi has a bit less in the bass department. This isn’t some colossal difference, yet it is a difference nonetheless. The D-Fi has a bit softer of an impact as well. Now, I can put that third switch up and then this is a different conversation. In that case the D-Fi gets a bit warmer and heartier in the bass region and sounds about the same as far as quantity is concerned. One thing remains is the leading edge of attack is still a bit softer on the D-Fi than the beryllium Cadenza. Both sets offer a very nice bass region that sounds clean and textured. I would say the Cadenza has a bit more of a snappiness to the sound but again, miniscule differences here.Midrange
Both of these sets hover around neutral in tonal color with the Cadenza leaning slightly more to the left with a touch more warmth to my ears. I think the D-Fi has a cleaner sounding male and female vocal and is slightly more detailed. However, I will have to keep repeating myself, the differences are very minimal. With the Cadenza, males carry a slightly heftier note weight with a smoother and lusher delivery while the D-Fi is more tidy, sharper. Both sound great. Females offer the same differences. The one thing I’ll say is females seem to be a bit more laid back on the Cadenza, but please don’t confuse me, they aren’t laid back in general, only in comparison. The D-Fi replays female voices a hair more forward and shimmery.Treble Region
The D-Fi also has the more detail focused sound up top. It has a pinch more treble punch where the Cadenza is a bit smoother and less vivacious in the treble region. The D-Fi seems to offer a slight bit more of a rise in the treble despite how closely aligned the graphs are. I would assume the D-Fi’s last little peak around 9-10k does add some luminance and that last little bit of vibrancy but in truth these two sets are very similar. That says a lot about the pedigree of the D-fi if it can hang with a set like the Cadenza which was almost universally praised. Extension on the D-Fi into the highest of highs is about the same to my ears. They are basically hand in hand in that regard.Two dope sets
So, like I mentioned, the detail retrieval of the D-Fi is certainly better to my ears between the two sets. Now, the Cadenza wasn’t exactly praised for its ability to bring to life the tiny minutia within a track. In the same breath I don’t think that detail retrieval is the D-Fi’s strength either. That said, both sets aren’t bad by any stretch. Soundstage is about the same on both sets, roughly average and not different enough to point out. I’d like to note that just because I have stated that one seems better in one area then the other does not mean it is inherently “better”. This leaves out all of the nuance and intangibles that each set offers. Truth be told, I couldn’t pick which one I like better.
Is it worth the asking price?
Is this a trick question that I’m asking myself? Um…Yeah, this set is most certainly worth the asking price. Listen, the build is really exceptional at this price. Where in the world are you going to find an all-metal shell that is this well put together, this seamless, this slick looking, with tuning switches and is actually a maturely tuned iem…all for $30!? I’ll answer this for you…you don’t see that…anywhere.The D-Fi is the newest attempt by KZ to capture the budget crown and by most accounts I’d say that they may have done so. Obviously, this all depends on what type of sound signature that you enjoy. I really shouldn’t speak in generalities like that but… c’mon folks! The D-Fi is very well balanced and very musical. No, it isn’t going to out-duel $100 iems, but it most certainly will have a huge advantage against anything in its price bracket, and maybe a price bracket higher.
Not for everyone
The D-Fi will be the exact opposite of those sentiments to anyone who enjoys a very thick and rich and warm experience. Yes, it is true, not everything is meant for everyone. There will be those who don’t appreciate this “close to neutral” style tuning and that is understandable. For those who dig a bigger and deeper bass region I’d say that you should look elsewhere. Even trebleheads may want to look past this set as well. For everyone else I’d say that it is hard to go wrong here for the money. I am thrilled that everyone has a chance to get really good fidelity at almost every price. Scratch that, you CAN find good earphones at every price point and the D-Fi is a shining example of that. So yes, the KZ D-Fi (Tuning Version) is most definitely worth the asking price.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the D-Fi, that would be any iem in the $15-$35 price point.Aesthetic
-Build Quality: 10.0-Design: 9.9
-Accessories: 8.8
Overall: 9.6
Sound Rating
-Timbre: 9.7-Bass: 9.7
-Midrange: 9.3
-Treble: 8.9
-Technicalities: 9.0
-P2P: 10.0 (Price to Performance)
Overall: 9.4
Conclusion
First things first, I have to again share my gratitude to the good people at KZ as well as Tyvan Lam for providing the KZ D-Fi for a fair and completely impartial review. I can respect any company willing to subject their product to the scrutiny of a review. Know this, KZ has never once even slightly uttered a word to me about what they would like me to say or how they’d like their products presented. Never. They live with the end result. Also, if a company did ask me to skew my words than that would be the last time I ever deal with them. So that is worth mentioning. Thank you, KZ.Please, seek out other thoughts on any product that you may be interested in. We are all very much different friends. We have different hearing abilities, different sources and gear, different likes and dislikes, different music libraries and we all haven’t been down the same audio journey (probably the most important). Listen to, watch, or read other opinions as it will help you to gauge these devices better. With that, I finally want to thank you, the reader. It means a lot to me that you would click the link to this review, and I do hope it has helped. Thank you and please take care.
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Shanling MG600
Intro
Hello friends, today I am reviewing an iem which I have wanted to get my hands on for at least a little while, the Shanling MG600. The MG600 is Shanling’s mid-tier Single Dynamic Driver and has kind of flown “under the radar” for the most part. Coming in at $599 the MG600 is not cheap and tussles with some fantastic competition sitting in that $400-$700 price point.I have enjoyed Shanling’s offerings in the past, from their budget tier to their higher priced sets and even Shanling’s wonderful digital audio players. In fact, I am using the Shanling M6 Ultra to conduct this review. Shanling has been around the audio hobby for many years and actually have made a name for themselves in the dap, portable dac/amp space while they sprinkle in a few well-conceived iems in the process. I realize most of you are very familiar with many of Shanling’s products, but the MG600 is simply one of their latest. With that, let’s get into the review of a beautiful iem, both inside and out. The Shanling MG600…
“MG” Line
The MG600 is part of a new “MG” line of single Dynamic Driver iems which Shanling states will all use exotic materials for the drivers and with equally exotic Shell materials and designs. I think Shanling is just having fun. Shanling always stretches the boundaries of build quality per price point, but this new MG series seems to be taking that to another level. You’d be very hard pressed to find better looking iems. Of course, that is a very subjective thing for me to say. The point is, Shanling is trying something different, they stand out, they are unique, and I can respect the greater degree of imagination and creativity. Let’s take a closer look shall we.
Gear used
–Moondrop Dawn 4.4–Ifi Go Blu
–Qudelix 5k
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Full Review HERE
Packaging
What’s inside?
The MG600 comes packaged in a relatively large box that is fitting of flagship level iems (whatever that means). The outer sleeve has an electric blue coloring with “MG600 Dynamic Earphones” printed across the front and some letters in Chinese that I am clueless to know or understand. Pretty flashy and flamboyant but honestly… I don’t care even slightly about that stuff. Pull off the sleeve and you will see a more modest and classier inner box. Open that and you will be met with the bewitching and handsome MG600 earphones in a foam cutout with the equally fetching cable attached. Under that is a box which contains the eartips as well. Pull out that layer and you’ll find the rest of the accessories. Here you’ll see the rest of the eartips, the modular cable Jack’s, a nozzle tool and the carrying case. Honestly the entire package feels very premium and well laid out and put together.
Cable
The provided cable is a very girthy modular cable in a golden and bronze braid with beautiful stainless-steel fittings. Really, this one is a looker. Hefty in weight, which may be a con for some, and slightly stiff, the cable has a nice and thick quality to it that feels very durable. The modular connection is a simple process of pushing each jack on once you line them up.
The included cable is an octa-core consisting of six cores of high-purity single crystal copper and two cores of silver-plated copper. Each wire has Independant shielding as well as a corrosion resistant coating so that the cable can maintain the beautiful look. Within the packaging you also will receive three modular right-angled jack’s (2.5, 3.5, 4.4) which again, simply push on and have a very solid connection. Much unlike some cheaper modular cables. I adore this cable, the way it feels in hand and how it contrasts in color with the earphones themselves. It really is a striking pairing and a great design theme.
Eartips
Included in the packaging you will also receive two pairs of Spinfit CP100 tips (Large, medium), three pairs of Bass tips, three pairs of Soundstage tips, three pairs of Vocal tips and two pairs of Balanced tips. Shanling actually indicates in the packaging that the MG600 sounds best with the CP100 Spinfits but I actually beg to differ. Eartips are so very personal, and each ear is different as well as not everyone has the same preferences so that was an odd indication. Anyways, all of the tips are of fantastic quality and are perfectly useful and each set does help to tune the MG600 in its own unique way.
That said, I of course by-passed all of the tips in the package and went with KBear 07 Large tips… at first anywyas. If anyone has followed me at all you already know that no other tip fits me so perfectly. Darn near all iems that I review will eventually have those yellow 07’s on them eventually. I did however circle back and check out the foam/silicone hybrid tips and I gotta tell ya, I am beginning to like those the most. You’ll notice most of my pictures actually have the hybrids on the MG600.
Carrying case
The case which comes equipped within the packaging is a very charming darker green case with a flip top that stays shut with a magnet. It is all leather and very deluxe in its appearance with some very nice lighter green stitching and the company label adorned on its front. I love that it is just the right size internally for the MG600 to comfortably sit inside while the box has a slight border around it to keep them from falling straight out. I believe this carrying case is a very nice addition and goes right along with the upscale theme.
Build / Design / Internals / Fit / Drivability
Design
Just exceptional! I could finish this entire section with those two words. Shanling quite literally carved the Shells from a solid chunk of stabilized maple wood. Weighing in at only 3.3 grams the Shells are very lightweight for prolonged long-term listening. The final design was completed using different resins, paint and dyes to formulate the marbled look. The design is simply gorgeous. I could also add a few more descriptive words like… exquisite, beautiful, pristine, elegant… shall I keep going? The artisans which hand painted and dyed the Shells obviously worked with the grain of the wood using deep blues, light electric blue and contrasting hues of orange with slices of yellows than coated with a fine gloss. Exquisite, beautiful, pristine, elegant, but really, they are… just exceptional.Build
The build is completely solid with almost unseen seams which are only visible due to the grain lines not matching the two shell halves. The Shells are rounded and unlike most iems which come across my desk. The shape is very nice for most ears as I can’t see how anyone would have a difficult time getting a decent fit. The nozzle is actually made of what appears to be brass and does extend a hair further than most. At the backside is a female mmcx cable connection which gives a very tight and well-constructed fit to the cable. When the cable is attached it is not even remotely loose at all. There is obvious quality in this set.One of my favorite aspects of the design is the Faceplate area. The MG600 is actually a semi-open design which allows good airflow and normally provides a wider and deeper soundstage, which is an element of some psycho-acoustic trickery that actually works. More on that later. Anyways, the faceplates have a rounded back vent with an ornamental circular piece of wood on top of a beautiful metal mesh underneath. On the faceplate you’ll see the company logo as well as the inscription of “Shanling” imposed across the middle in a very sexy manner. I would have never thought to use this combo of colors but… I really dig the look of this set.
Internals
Shanling chose to use some exotic materials for their new “MG” line of single Dynamic Driver earphones and the MG600 is not an exception. The MG600 has a 10mm Carbon/Graphite Composite Diaphragm with an Aluminum Magnesium Center Dome as well as a Japanese voice coil. Shanling went with N48 Neodymium magnets as well to further help with the tuning which offer a higher magnetic flux than other magnets.Fit
This may be a tricky one for some of you. The MG600 is almost in a globe shape. Now, it fits me like a glove but also, almost every iem fits me well. The nozzles are a hair longer than normal and it may take some fiddling in your ear but the MG600 nestle perfectly in mine. Of course, we are all very much different and no two of us are the same, but I have to imagine that the MG600 will fit most hobbyists just fine.Isolation
This is an area which surprised me quite a lot. I have found the MG600 to isolate outside noises very well. Obviously, they don’t compare to a set with actual ANC but for a semi-open back iem the MG600’s ability to isolate or attenuate the outside world is very well done. Let me put it this way. I didn’t hear any of my daughter’s ridiculously loud TV shows except for slightly muffled sounds. Isolation is great. On the flip side, as far as sound leakage is concerned, I’d say that Shanling produced a set that isn’t going to be an annoyance to others around you either. My wife says she can only very faintly hear Too $hort “Get In Where You Fit In” while he’s blaring in my ears. Nice!Drivability
The Shanling MG600 is rated at 22 ohms with a sensitivity of 105 db’s so they are pretty sensitive and can be driven fairly well from most any source. I don’t have any very weak sources to test this theory, but I am assuming this is the case. So, take it with a grain of salt my friends. However, using the IFi Go Blu or the Qudelix 5k on “Balanced” I had an awesome mobile solution out of both. What’s most awesome is that the MG600 synergizes well with both differing dac chip’s signatures.Using the Moondrop Dawn 4.4 on High Gain mode really stepped up my audio. Something so special about the Dawn that it just devours any other dongle dac that I own in sound quality. Really one of the better price-to-performance dongle dacs out there. The MG600 takes the Dawn’s dynamic and crispy neutral flavor and just dances with it. Really a fine option for audio in this format. The Dawn uses a fully balanced CS43131 dac and really meshes well with the MG600 by tightening up the entire spectrum while adding some nice luminance to the sound up top.
More juice
Moving onto the Shanling M6 Ultra with its ridiculously resolving and smooth Shanling sound suits the MG600 very well. The M6 Ultra uses the fantastic AK4493SEQ dac chip and packs a bunch of output power. The MG600 is something akin to heavenly, lush, detailed and ridiculously robust when paired with the M6 Ultra. Just as heavenly but slightly more on the neutral and snappy side of things is the iBasso DX240 which uses a ES9038Pro dac chip and is basically a more refined Dawn 4.4, but on steroids. I use the Amp8 MK2 module attached to the DX240, so there is a ton of output power and easily enough the MG600 can handle all of it. So, the MG600 doesn’t need more power, but really scales up well with additional juice.For the majority of my critical listening, I used my DX240 or the M6 Ultra. On both Daps I used either “medium gain” or “high gain” but mostly high gain. There is a definite tightening of the bass region as well as some added density down low coupled with some greater grandeur in the soundstage with more power. That said, let me be clear, you certainly don’t need higher power and will be more than fine listening on a simple dongle dac. The fidelity is pretty nice on anything I tried.
Bite Sized Sound Impressions
The Shanling MG600 presents a wholly rich and resolving sound which stretches the stage in all ways. I hear a slightly warm sound which hovers around neutral, yet very punchy and crisp throughout, and completely dynamic. The sound is mostly balanced throughout. The MG600 is a FULL and effervescent listen, it’s lively yet constantly controlled at all times. I find it very hard to nitpick on this set, though for $600 it may be the nitpicks that are a deciding factor for the buyer. With that said, this is a great single DD as the MG600 has a very clean, resolute and speedy sound while maintaining the affluent richness of its replay.Each 3rd of the mix
The bass region has a balanced emphasis which doesn’t overtake any other frequency. The sub-bass hits deep with no real perceived roll-off and great tactile rumble. The mid-bass slams with nice texture and decent speed as well as some lifelike timbre. The bass is not “basshead” at all, but it is strong and impactful and very tastefully done. It’s mature, if you will.The midrange is engrossing. Not too far laid back and actually very present and clean. Males are “bodied-up” with nice weight to vocals and come across very resolute. Females sound so energetic, forward, sweet, yet powerful and vivid. Instruments have a nice timbre, but I will cover this all shortly. Possibly the pinna gain may be a turn off for some people, but I happen to adore it.
The treble has good energy and balances very well with the rest of the mix. Just the right amount of buoyancy and lift to the region. Extension is only okay up top. The treble is snappy enough with a nice and rapid treble punch while there is just enough bite in its note definition up top too.
The MG600 has great technical chops for a Mid-fi single DD. Details and micro-details are nicely perceived and brought to the forefront. The stage is large in all directions with a 3D like presentation.
Bass Region
Sub-bass
The sub-bass grumbles and rumbles in the deep my friends. Not at bass head levels but certainly at the level of those who enjoy good bass. I hear excellent texture to any notes which adds a certain depth to any track which it is tasked with replaying. In the track “Slowly Rivers Turn” by The Tallest Man on Earth, as the bassline kicks in (while listening with the MG600 of course) you can really feel that deep rolling rumble, as if the surface texture almost wraps the fundamental body of the notes… holding it all tight. There is a reverberant quality with a hard-edged attack and an atmospheric type of decay. The sub-bass adds a nice vitality to the low-end and works in tandem with the rest of the mix. Now, It isn’t the world’s deepest sub-bass and bass junkies may want more, but there is enough to satisfy the demands of any genre. The MG600 has nice haptic buzz and reverb when it is called upon to do so.Quality over quantity
The lowest of lows may not be a bass-boi’s perfect answer to their head bobbing desires, and no it isn’t going to tickle their ears in the type of reverberant density of some sets which are created for that type of bass. Despite that, the MG600 displays the sub-bass with a natural density which is emphasized enough to increase the macro-dynamics of a track while feeling less forced. There is more of an effortless prowess on display as the MG600 happily marries both guilty pleasure and faithful reproduction of my tunes. I seek out a rumbly sub-bass, yet I do so with good resolution in mind and I’d surely suffer my teenage-like wishes of accentuated resonant fun for a more organic and realistic type of a balance. Quality will always win my audio friends, and in the case of the MG600 I do believe that competence has been achieved for the price. At least it has to my meager understanding.Mid-bass
The mid-bass has a nice punch with layered texture, which adds some realism to my library of music with a sprinkling of fun. There is a fullness, or better said, a brute sturdiness to this region that is engrossing with the right songs. “Wolves” by Big Sean absolutely slays listening with the MG600. The song begins with an underlying bass buzz that drones very low in pitch. When the bass drops, friends… It hits like a hammer! Notes are rendered with this fluid roundness and effortless authority on the MG600. Furthermore, there is a definite slam sensation that hits fast with chiseled edges outlining those bass drops. “Rich Off Pain” by Lil Durk hits pretty hard too. With the MG600, what I get is a bouncy, gravelly, and bullish sounding slam that sets the tone for the rest of the track. The mid bass carries a fast attack with a tight leading edge and just like the sub-bass, it gives off an atmospheric and accurate sounding decay and sustain.Bass guitar
The bass guitar comes across with some meat, they mostly sound profuse in their edginess and can get downright growling listening with the MG600. Shanling seems to cover it all with this omnipresent dynamic balance across the mix. In the song “Redneck, Unread Hicks” by Adeem the Artist there is a slightly pervasive bass guitar grunt which runs deep and the MG600 does this track justice as the mid-bass is lifted just enough to add a gruff bite to this beloved instrument.Dynamic balance
I love good bass and I always need at least a small amount of emphasis down low to really enjoy my library of music. However, I don’t like 100% basshead iems all that much. I desire a good balance, yet within that balance I most enjoy some vigor, some pep, or some accentuated attempt at liveliness in each area of the mix. Basically, I want some musicality. I think the MG600 pulls this off quite well. The mid-bass echoes this claim with a slightly colored portrayal of a balanced tuning while also nicely counter balancing across each area of the frequency with equal accentuation.The bass doesn’t really bleed at all into the mids but does add some warmth to male vocals. Not enough to add too much meat to fundamental frequencies of instruments and not at all muddy or veil inducing. Just enough I’d say. Some may want more, and some may want less, but I think Shanling tastefully emphasized this region.
Midrange
The midrange is musical, pretty well detailed and nuanced in its auditory expression. Melodic is a word which comes to mind. Just because a set plays music doesn’t make it musical or melodic. The MG600 on the other hand has nice timbre which comes across euphonious and harmonious. The midrange doesn’t sound recessed to me but also it doesn’t sound in your face either. There is a sense of air and of space between elements of the stage coming across more expansive than not. The core of this region is nicely organic and rhythmically inclined with touches of warmth that adds brushes of color to this mostly balanced midrange.Male Vocals
Male vocals have a nicely girthy weight to them and are slightly warm but also very resolving. They have an accurate portrayal of a man’s voice stretching from bass, to baritone and to tenors. Bass singers like Avi Kaplan sound great with a deep, smooth and resounding sound to his voice. In a track like “First Place I Go” his voice sounds booming and deep on the MG600. There is this resonant echo which stays in great control and stays smooth in body yet crisp at note edges. Higher pitch males like James Bay in “Hold Back the River” comes across both breathy and coarse depending on the undulations in his singing, just as his voice should sound. The MG600 presents males well, with energy and good presence and placement in an imaginary stage.Females
Females like Joss Stone in “No Regrets” have such an effervescent and all-encompassing type of vivaciousness. Yes, I said vivacious. Her voice just leans in with glowing resolve on the MG600. She is the type of singer that has up and down oscillations in her voice going from soft and breathy to a ballad style inflection which can occur within any one line of a song. The MG600 has just the right balance to not come across metallic or grainy or piercing, especially when Joss hits those power notes. Instead, she sounds silky when she’s silky, she sounds alluring and charming when she’s emotional. Her voice can be coarse at times yet also controlled, and the MG600 displays this measured ability with a saturated crispiness. I could do this for so many females, but I won’t bore you guys. Let’s just put it this way, female vocals are fantastic on the MG600.Love good vocals
I love good vocals friends. I love em. Just like I seek out good bass, I seek out something which can playback solid and alluring vocals. Do me a favor, or rather, do yourself a favor and check out “I Still Haven’t Found What I’m Looking For” by Home Free. You can thank me later. They are a very good acapella group and yes this is the remake of U2’s famous hit. This song has every type of male voice in perfect harmony and the MG600 replays it with a musicality that seems almost pregnant with resounding euphony. I say all this but I also will say that vocals are not the MG600’s specialty. Vocals on the MG600 are simply a benefactor of the tuning and capabilities of this driver. There are certainly sets which specialize in vocals within the price point of the MG600.Instruments
Instruments for the most part replay nicely due to the balance of the tuning in this area. Electric guitar sounds gritty, crunchy and abrasive while acoustic guitar sounds detailed and nicely weighted. Every little micro-detail pluck or finger slide is captured as if I’m right next to it. Piano sounds as it should, as does violin. Percussion, like the fundamental frequency of a cymbal strike has good body sounding organic and not too energetic. Snares have that nicely sharp but deft pang with whetted and honed-in edge lines and natural decay.Issues
The only thing which can be a bother is the MG600 can come across a bit sharp on some tracks. In my opinion, it doesn’t bother me at all, but I’m sure it may bother some warm/dark and smooth lovers out there. Somewhere in the upper mids to lower treble is a slight rise which can add a hair too much forwardness for some, I’m sure. However, what you won’t hear is any sibilance and nothing too grating. You won’t hear anything metallic and there isn’t any moments of odd tonality and timbre. There’s nothing grainy or veiled either. Instead, you’ll hear clean, clear and resolving sounds with smooth and detailed notes carried out in high-res quality.
Treble Region
To my great surprise the Shanling MG600 has an energetic and uplifted treble region which doesn’t push anything too far. The treble is pretty airy which is helped from the semi-open back structure of the build. Timbre and tonality are on the smoother side yet with a snappy enough attack to carve out a nicely detailed listen. There is a certain liveliness that is pretty upbeat and mildly illuminates the whole of the mix… affecting everything. I hear good separation as well in this area. You won’t hear anything shouty or piercing up top, nor will you hear any moments of tizzy timbre. Actually the treble here has some density and a contoured leading edge which doesn’t have sound glassy. Give the MG600 some juice and the treble region does react quite well depending on the source.Secondary harmonics of a cymbal strike have an altogether natural release and decay which never encroaches into tizzy or splashy. What you have is a seemingly natural weight to instruments. Piano and flute both sound bold and raw, but also polished. Strings which are located in the upper areas of the mix seem to have good harmonics, which breathe life into my music and release in a wholesome fashion. Electric guitar never becomes shrieky, or too bright, or ear gouging, but has such a radical fundamental depth in their overtones which adds depth and authenticity.
Orderly Brilliance
I enjoy the transition from midrange to treble as it seems there is no overlap, staying true to the Dynamic Driver cohesiveness and this can be heard in some females and instruments which cater to the upper-mid/lower treble areas. The detailed replay is evident as micro-details quite easily find my ears. There is a pretty structured and orderly brilliance in the treble region which does enhance the soundstage to a degree. However, extension into the highest of highs isn’t mind blowing on the MG600, but it also isn’t something I’d call a con either.Check out “Bishop School” by Yusef Lateef. This track is absolutely lathered in blistering treble activity. You’ll hear the flute, congas, electric guitar, the trumpet and percussion all moving at a zippy pace. This is a nice track to test for separation, imaging, treble snap, peaks, transient response and a host of other attributes. The flute comes across ethereal, bright, silvery and rich. The trumpet sounds brassy with a controlled brilliance that isn’t harsh as the trumpet blare comes across like a saluting banner of volumous sound. The MG600 is able to keep up with this track which surprised me, for a single DD that is. Transients in the treble region stay tight but notes are outlined with a subtle soft snap to the sound.
You Betcha
Note weight on the MG600 in the treble region comes across relatively weighted. I don’t hear anything dry and too analytical and certainly not thin. The MG600 is flexible in its playback whether it be tracks that have a featherier sound or tracks which display a more intricately clamorous and strident sound. The drivers inside of the MG600 are very capable and easily speedy enough to keep up with songs like “Ice Bridges” by the phenomenal Billy Strings. Listen to how well every rapid-fire banjo and guitar pluck is effortlessly picked up and every single note is accounted for. Is it perfect… No, nothing is perfect. Is it one of the better single DD’s that I’ve heard… you betcha.
Technicalities
Soundstage
Listening with the MG600 you will notice the expanded stage which extends pretty wide with good height and depth within the field of sound. This is one area that I really enjoy about the MG600. Listening to the song “Hook” by Blues Traveler will hit your senses straight away as the sound is far and wide, with a symphony of sound cascading around you. Every instrument is so well captured as the harmonica sets the tone, dab smack right in the middle of the sound field. There is definite depth which offers very nice layering to the sound.Obviously the MG600 is an iem and so expecting a stadium sized performance should not be expected, but I do think this set may surprise some people. The macro-dynamics of the MG600 are big and expressive, and the sound is very full across my mindscape.
Take a track like “Oil” by The Gorillaz featuring Stevie Nicks. My word FRIENDS! The sound envelopes me in this powerful, and vibrant, and stretched out stage that is mellifluous and so very deep in its presentation. The sound is simply big.
Separation / Imaging
I found separation to be very well accomplished for a single Dynamic Driver. It’s amazing how well one driver can actually delineate each individual instrument so well. The MG600 does well to carve out each element of the stage with fine lined and localized pockets of sound surrounding instruments and voices. There are a few ridiculously chaotic tracks that can blend a bit with the MG600, but that shouldn’t surprise anyone. However, as far as single DD’s goes I have yet to hear anything far and away better than this set. Yes, there are multiple drivers sets and hybrids, heck even planars that will be able to keep up with more confusing songs. Nevertheless, that can also be at the expense of some of the qualities which make a set like the MG600 so nice. That is, the full sounding single DD cohesion and natural note dynamics as well as that DD timbre.Still, the MG600 partitions off elements of a stage quite well, creating distinct and contained objects. The imaging ability follows suit with how well it can separate. The two attributes walk hand in hand. The MG600 quite easily paints the psycho-acoustic setting where elements of a stage are always where they should be. Left to right and front to back, the MG600 provides a nice mental image.
Details
No this is not a detail king. Yes, there are most certainly better iems at picking up the subtleties and you can find them cheaper. I have quite a few of them too, but I would personally never be willing to give up the sheer musicality of this set for a few momentary tiny details. This set is made to playback music, and it does a great job at doing so. I say all of that to also say… The MG600 actually has some pretty nice detail retrieval, especially for what it is and for the way it was tuned. Key words… “for the way it was tuned”.Details raise the bar of your music and bring it to life and the MG600 is able to do so very well. Stuff like finger slides and plucks, harmonics, the little intonations in a voice or even subtle background noise in your favorite live track are fairly well illuminated and brought to the forefront. The MG600 does have a smoother, richer and slightly lusher presentation, but that is not at the expense of its tight, controlled and clean dynamics. The little nuances within a song are picked up pretty well due to the agility of the driver and the balanced tuning along with the perceivably quicker transient attack, decay and sustain.
Comparison
Note: I wish I had more to compare with but unfortunately this is the only other iem I have at the price point at the time of writing. Any comparison I perform is not a duel to the death but instead just a way for me to better describe the sound of the set I am reviewing. Fiio FH9 ($599)
The Fiio FH9 is a set that I have greatly enjoyed. Quite easily one of the better tuned iems in its price point. Depending of course on what one may like or not. Built like an absolute tank and gorgeous in design the Fiio FH9 will show off its pedigree every time I listen to it. Fiio used a huge 13.6 mm DLC Dynamic Driver along with six Knowles Balanced Armature Drivers. The FH9 also has interchangeable sound nozzles to further tune them to your liking and is accessorized to the nines. A fantastic iem, no doubt about it.
Check out my Fiio FH9 reviewHERE.
Differences
This is a seven-driver hybrid against a single DD. Maybe not the best comparison and possibly not fair on many fronts. However, the FH9 is a good measuring stick for a set like the MG600. Having said that, the raw cohesiveness of a well made and well tuned single DD may actually surprise you. There is a very good reason why single Dynamic drivers have been around so long. I won’t go into all the benefits, but I will try my best to describe some differences between the two sets in this comparison.
The first thing which comes to mind is the tightness and quantity of the bass response from the MG600 as it does have a hair more in volume than the FH9, believe it or not. You’d think the FH9 would slam harder and deeper with its massive driver and Fiio’s usual “House Sound” but the MG600 does have a crisper and punchier sound down low. I think a lot has to do with the contrast from the rise up top which helps distinguish the bass a bit more and add a more defined lead attack. The FH9 can thump with authority but the MG600 has a bit more in the tank. The difference is minimal. The MG600 may be a hair more compact but both sets really do well in the bass region.
Midrange
Male vocals in the lower-mids sound fuller and warmer on the FH9 as there is a bit more mid-bass bleed into this area. The FH9 is more forward than the MG600. The MG600 comes across cleaner with equally good note definition. There is also a big difference in timbre and tonality as the MG600 is closer to neutral while the FH9 has a warmer replay. Both sets offer a great take on male vocals. Female vocals follow suit in almost every regard. The FH9 is more laid back, less energetic, but also lusher and more forward and fuller. The MG600 is flat-out cleaner but also more energetic and shimmery with a more open sound and with more air. Both sets have nice separation in this region and imaging and both sets have a nicely detailed midrange. The FH9 fares better in complicated tracks.Treble Region
I hear good snappiness and a nice leading-edge attack for both iems in the treble region. I’d say the FH9 carries better details and while it isn’t a bloodbath, I do think the additional drivers help tremendously in illuminating the finer details. However, I would also say that the overall character and timbre of the MG600 is much airier and present which adds nice clarity to sound as a whole and comes across more uplifted. Not that the FH9 has anything to feel ashamed about. Extension is probably a bit wider out on the FH9 as well, but it certainly isn’t a huge difference. I’d say the biggest difference in this region is the overall treble punch that the MG600 can have compared to the slightly softer side of the FH9. Again, two great sets which perform very well in the price point.More differences
Once again, the FH9 is more laid back, more non-offensive yet the overall tonality is mellower in non-veiled warmth. The MG600 is much closer to natural in my mind with a more effervescent and open sound. This is not to say that the FH9 doesn’t sound open either. The FH9 has its own charm which sets it apart as it is a highly resolving iem which will not become fatiguing. The MG600 on the other hand does have some pinna gain which may turn off those who are very sensitive to this area.I personally have a hard time choosing which I enjoy more between the two of these. Both sets offer different high-level characteristics that make each a joy inducing experience. I suppose I reach for the MG600 quite a bit more as I do like a more neutral and clean sound though there are always times that a lush and warm sound will tick all the right boxes.
Is the MG600 worth the asking price?
I can answer this question for myself with a resounding yes. I’ve grown very fond of its timbre, tonality, dynamism and just the overall musical and harmonious nature of the MG600. It’s punchy, deep, airy and sets a great dynamic balance in each 3rd of the mix. Basically, there isn’t a lot to complain about. A phenomenal iem with such a refined character while not leaving out the musical and melodic aspects within its tuning. The MG600 is absolutely stunning and is built so very well. The aged maple wood helps to create a distinct sound, and the use of the specialty drivers creates an immersive atmosphere to the music in my library.Now, I cannot speak for the rest of you. Please trust me I have a hard time spending $600 on anything and if this was even two years ago I would have said you were out of your mind to buy an earphone for that much. I suppose that is the grip of the hobby. You learn more, enjoy more, and curiosity just calls on me like a siren. Anyways, I can’t answer for you if this $600 earphone is worth the price but compared to similar sets in the price point I couldn’t in good conscience say it isn’t worth it.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles. In the case of the MG600, that would be $500-$650 single DD’s.Aesthetic
-Build Quality: 10.0-Design: 9.9
-Accessories: 9.9
Overall: 9.9
Sound Rating
-Timbre: 9.7-Bass: 9.3
-Midrange: 9.5
-Treble: 8.9
-Technicalities: 8.9
Overall: 9.3
Conclusion
To conclude my review of the Shanling MG600 I want to thank any of you willing to read any of my thoughts. I love to write about this hobby as it is completely cathartic and joy inducing for me. It is true that I spend an obscene amount of time on these reviews and so anyone who takes anything positive away from these write-ups… well…that's what this is all about.I must also add in this and every review for that matter that… I do want you all to seek out other thoughts about the MG600. It will only benefit you to find out everything you can about this set before you shell over $599 for it. We all have different likes and dislikes, different libraries of music, we may have different gear, our hearing can be different, and we haven’t all been down the same journey in audio. Please listen to, read, or watch other perspectives and I know you will find the right audio gear for you. Thank you all so much and please take care and stay safe.
Hidizs MS5 "Dark Angel" Review
Hidizs MS5
Intro
Hello fellow audio enthusiasts, today I am reviewing the latest five driver hybrid iem from Hidizs, the Hidizs MS5. The MS5 comes to me with great thanks to Bella and to Hidizs themselves as I was one of the reviewers chosen to take part in this public review. Thank you so very much for providing the MS5 in exchange for a fair and honest opinion. I received the MS5 a around a month ago and have had quite a lot of time with them in my ears preparing for this review. I promise to give you my exact personal opinion and objectively subjective thoughts about this set. I’ll give you the good and the bad. I will try my best to answer the ultimate question… is the Hidizs MS5 worth the asking price? With that said, my friends, the Hidizs MS5…Hidizs
Hidizs has been around for quite some time with an array of dac/amps, daps, iem and similar audio devices. As a company they seem to always have quality in mind using materials that feel and look premium no matter if it’s entry level products or more expensive products. I have personally reviewed a couple Hidizs products in the past, the latest was the budget priced Hidizs MM2 (Review HERE). However, I have actually owned quite a few more and have enjoyed all of the sets that I’ve had the pleasure of owning. Today we look at a brand new five driver hybrid iem in the Mid-Fi price point that really brings quality to the forefront.Dark Angel
The MS5 is affectionately referred to as the “Dark Angel”. Hidizs obviously went all-out in trying to create an earphone which embodied the name it was assigned. A “Dark Angel” is actually an angel who almost acts as a “special ops” soldier in God’s army. Much different from a “fallen angel” or “demon”. Dark Angel’s enforce the Will of God by any means necessary and…they don’t lose. This is the vein with which the MS5 Dark Angel is to be perceived. From the top class build to the ornate and gothic design, the MS5 perfectly embodies the overall motif or theme, and I am more than happy to publish my thoughts.Love a good theme
I love a theme to follow, especially a creative theme. Whether it be a mythos or a narrative, whether it be a story line or a plot, I love when visionary people mesh their artistry with technical skills to create something that the rest of us can understand and follow. Hidizs has done just that. They actually correlate each of the five drivers to “Angels in a Choir” which is a unique idea that I have yet to see in a set of earphones. “The hymn came, the chant rang out” is sort of a mantra which Hidizs uses to emphasize the design aesthetic and to build the overarching premise. Dark Angel wings embody the look of the MS5, and I have to admit…the design is bold, promethean, intricate, very original and simply… creative. Nice job Hidizs!Full Review can be found HERE
Gear used
–Ifi Go Blu–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
The MS5 arrived at my door in a good sized rectangular black box which is kept mostly simple. There is a picture of one MS5 earphone on the cover along with different driver labels, the Hidizs branding and some specs for the MS5. I like the simpleness of the box and also the high-quality nature of the packaging itself. In fact, I’ll go a step further and say that the unboxing is one of the better that I have had within the price point. Similar to a Fiio type presentation yet with little accents to make it pop a bit more, or better.Once you remove the top off the box, you’ll be met right away with the MS5 themselves and boy do they look stunning. The earphones sit comfortably in a cardboard/foam cut-out as if on display, as they should be. Next you lift off that layer only to be met with another layer where you’ll instantly see the gorgeous carrying case, the many eartips and the tuning nozzles. This package wreaks of guilty pleasure and screams premium quality and luxury. Inside the case you’ll also find that beefy cable but I’ll speak more on that later.
Carrying Case
To be honest, I never really use any case that I’ve received with a set of earphones. The case that Hidizs provides has me rethinking things. It is absolutely beautiful! Made entirely of a white PU Leather material that feels so rugged yet almost feels like an indulgence because of its classy design. I love the stainless-steel zipper which contrasts so perfectly the white PU-Leather. You’ll notice stitching on the top and bottom as well as along the sides of the carrying case which always adds a sense of exorbitant luxury. A delicacy for the eyes if you will. Also, I love the size. Thank you Hidizs for giving us a case which can actually hold the massive cable and earphones. Hidizs also promotes this case as being waterproof, I have not tested this claim.
Eartips
Hidizs went along and added nine pairs of tips which is actually three sets of three different kinds of tips, and they are labeled according to their tuning purposes. I think all included tips are of very nice quality, they are firm at the flanges which is great for sealing purposes. The tips come packaged in a nicely organized foam tray with labels to each tips’ corresponding tuning. Again, I liken this packaging to an upscale Fiio presentation, just very nicely done.
You get three pairs (S, M, L) of a shallow fit and wide bore tips which Hidizs calls “Vocal Tips”. I didn’t use these tips, but I will at some point with something else. The next pair of tips are the “Bass Tips” (S, M, L) and these tips are a hair longer with more of a semi-wide bore which has a harder and more rigid stem and also has a firm flange. I did actually use these tips in some of my critical listening as they do well to level out and balance the treble activity a bit. The last set is the “Balanced Tips” (S, M, L) which actually feel very similar and look very similar (except the color) to the KBear 07 tips. If anyone has read anything from me, you’ll know that I am partial to the 07’s.
What I used
However, besides the bass tips I quite literally tried about fifty different sets of tips. I did end up using the medium sized foam tips. I also found during the painstakingly long tip finding process that getting the deepest fit possible with the MS5 does wonders for the sound and so I had to go to a smaller size tip than usual. There are a handful of other tip choices which work great. I am partial to three different tips which I thought helps the MS5 sound at its best… the bass tips (in the packaging), Final E-tips, or the foam tips. For the most part, for myself, I find the Final tips or foams work the best. I realize in my pictures I have some wide bore tips but please disregard as I took those pictures before I went heavy with critical listening.Cable
My word this cable! What a beauty it is, and wow is it a thicky-thicky! The cable is fat y’all! Just a wonderful cable which conjures apex feelings of grandeur as it is so beefy and durable to the touch and a feast for the eyes which perfectly matches the colorway and aesthetic of the MS5. Hidizs design team decided on a beautiful cable that feels and looks premium.
The only thing I’d like to see is a modular cable, that would’ve been nice. Most companies provide a modular cable at this price. If I had one other complaint about the MS5 cable it would be the ear hooks and how ridiculously tight the turn is. It truly makes it a pain to get on. Rest assured I am able to get past my tiny complaint by forging ahead and twisting and turning and shifting and eye-rolling until they are on and not going anywhere. Moving on…
Cable construction
The cable itself is a 2-pin, .078, 3.5 single ended 504 wires of 6N single-crystal-copper which is Plated in silver wire along with 6N single crystal copper wires which comes out to be 8 strands in total. The cable has a very tight braid with a black and very soft plastic type sheath covering the braided wires which evokes a sense of durability and permanence. This thing is gorgeous my friends. It has a two-toned colorway. Brown coupled with dark gray along with a handsome looking gun-metal strain relief and a copper/gold plated jack. The Y-split is also that slick looking gun-metal color as well as the chin slider. You will see “Hidizs” written in that golden brass color at the strain relief with subtle golden accents here and there. Have I mentioned that the cable is beautiful yet?
The only thing which may be a problem is also one of the strong points of this cable and that is its size. I could certainly see this cable being entirely too fat for some people or too heavy for long periods of listening. Not everyone wants a mammoth cable hanging from their neck adding weight. As for me I don’t mind it, I love a nice and thick cable. However, I’ve been in this hobby long enough to know that some will find the size cumbersome and annoying. Granted, that is a handful of people, but it should be noted. I think the vast majority of hobbyists will adore it for its durable feel and exquisite looks. Also, again, I wish it was a modular cable, or at the very least it would’ve been nice to have a choice of what jack we wanted. Fl
So, for balanced listening I looked for a cable that is good enough for the MS5 and can match the colors and that cable was the Kinera Leyding modular cable. It is the perfect side piece to the MS5 and looks like they were made for each other, truly. Less fat and beefy but perfectly suitable to use with the MS5. However, for any 3.5 single ended usage I of course went with the included cable. There aren’t many downsides and all things considered… Hidizs knocked this one out of the park!
Tuning Nozzles
One of the huge benefits of the MS5 is the fact that you can further dial-in the tuning using the included tuning nozzles which can be screwed on and off rather easily. You get this cool little slab of aluminum which houses the nozzles themselves. You’ll see labels next to each female threaded set of holes labeled “Bass” & “Treble”. It should be assumed that the 3rd set is for “Balanced” listening. It seems the tuning nozzles only really affect the sound from around 5k-8k as far as sonics are concerned. More on that later.
Bass Nozzle it is…
I do want to note that the majority of this review was completed using the “Bass” nozzle. I have gone back and forth with all three quite often. In fact, at first I strayed away from the bass nozzle thinking I wouldn’t want any more veil cast on the sound and so I simply didn’t give it a shot. However, I reluctantly did end up using the bass filter and low & behold… I never went back.More balanced
I hear a more organic type of replay using the bass nozzle and the treble seems to level out a bit. The sound simply is more balanced to my ears with this nozzle. I used the treble nozzle for quite a while, and it simply adds too much of a tinsley sheen to everything and it also throws off the rest of the mix a bit. Treble junkies may enjoy it but it is a bit too much for me. The balanced nozzle was the same issue but to a lesser degree and is my second favorite option. It was the bass nozzle which eventually stole my heart.
If I were you, I would take the time to dial in the sound to your liking. Hidizs has provided a multitude of ways to get the MS5 performing well to most preferences. From tip-rolling to nozzle swapping there is likely a way to make the sound work for you. So do your homework and take the time (I’m sure you will) to test every aspect of each combination. The MS5 is worth it. I will say that tips make an enormous difference with the MS5. I personally prefer a smaller bore tip and the bass nozzle, but you may want something more open and airier. Perhaps you are a true-blue treble junkie, if so, I promise the MS5 will work for you.
Good sized nozzles
The nozzles are of a good size to where I can actually get my fingers on them. To me this is nice to see. I like not having to sweat trying to thread them off and on. Some sets which offer tuning nozzles are so darn small (cough-cough… Fiio FH9) that it is almost impossible to quickly take on and off. The MS5 nozzles are perfectly sized. The nozzle width is actually wider than most so bare that in mind when selecting 3rd party tips should you decide to do so.The treble filter is a silver color, the balanced is a brass color and the bass nozzle is colored red. Each function pretty well and does slightly alter the sound. Now, you will notice it isn’t a drastic difference. You aren’t getting three different tunings here. Instead, you’re getting three slightly different versions of the same tuning. Again, for this review I used mostly the bass filter as it aligns with my preferences the best.
Build / Design / Internals / Fit / Drivability
Build
Boy oh boy, Hidizs looked at the standard builds out there in the ‘audioverse’ and must’ve laughed. Then they went ahead and absolutely obliterated the status quo. I hear the song “Whatever you can do I can do better…” replaying in my mind while thinking about the people creating the MS5. The Shell cavity was made from one piece of solid aluminum which helps keep the MS5 very light yet also extremely durable. The body is very smooth with an almost matte black color that looks pleasing next to the brass colored accents.Next, we come to the Faceplate area which was actually formed with black resin and functions as a semi-open back design. Under the beautiful Faceplate you’ll notice a brass-colored metal mesh vent screen. I see one small threaded damper towards the rear as well. The nozzles reach pretty deep but nothing which creates discomfort, I’d say they are a hair longer than most. The shape of the MS5 is said to mimic that of the human ear and by my estimation I’d say that Hidizs did the legwork they needed to do to accomplish that. Of course, I don’t think this set is altogether much different in shape than many other sets out in the Audio-verse. All in all, the Hidizs MS5 is structurally built like a tank yet very light.
Hidizs Exclusive Soldering
One thing to note is the Hidizs exclusive soldering process. This may not seem very important but in the overall structure of the earphones this presents a huge advantage. Hidizs actually uses a gold-tin soldering wire which doesn’t oxidize over time and also, it’s very stable in structure as well and helps to provide a stable electronic signal transmission. The stuff you don’t see is often times the very thing which can set something apart. It’s the small things my friends.Design
The overarching theme is very dark, but also very bold, and so the design must portray this. Hidizs paid close attention to the aesthetic and all the little intricate details and nuances which goes into the actual styling of the MS5. Like I mentioned earlier, Hidizs is working on a premise, or a theme which revolves around the “Dark Angel” epithet. A lot can be derived from such a name as far as tuning is concerned. More-so, Hidizs went all-out in their effort to use this theme to create the framework for the composition as well as the make-up and construction using different robust materials.You’ll notice a very clever artistic expression put into the motif. I’ll be perfectly honest with you (as always), the MS5 is FLAT-OUT DOPE!!! Somebody shake the hand of the artists involved or maybe even a good fist bump, in fact, everyone gets a fist bump.
Dark Angel Wings
The faceplates are where you’ll see the theme come to life as they are quite literally formed to depict Dark Angel wings. The whole of the faceplate is formed into the shape of a wing and each cut-out portion is done so to intricately mimic the feathers. Between each cut-out section you can see the brass-colored grill underneath which strikes a stark and visibly pleasing contrast against the black of the wing. Also around the black wings is a strip of brass colored border that really stands out and I think is a very well thought out design choice. C’mon folks, brass on black & premium materials with one of the most imaginative designs that my eyes have ever seen and you have yourself a STUD.Dark Angel was a cool idea in an artistic way but does this theme correlate into actual tuning of this set? I will explain later how this semi-open structure helps the MS5 and how it may affect the sound, but right now we are only speaking of the design itself. I truly think that the MS5 is one of the more uniquely created iems in any price point and Hidizs oughta be proud of what they have created.
Internals
Inside of the aluminum shells is a total of five drivers. The MS5 is a Hybrid setup consisting of one Dynamic Driver as well as four Balanced Armature Drivers. The Dynamic Driver is a 10mm in size using Liquid Silicone which is said to be made with a “sandwich injection molding process” which is very cool to see at this price point. I personally haven’t listened to a set with such a driver prior to this review. Not that I can remember anyways.One layer of the Diaphragm is made of Kevlar with a thickness of only .03 mm with a .045 mm layer of liquid silicone injected in between. So basically, you have this Kevlar material acting as a house for the liquid silicone to be injected into. These materials are touted to have great elasticity, great sensitivity, and a quick transient response. The Kevlar is actually theorized to absorb much of the vibration which ultimately helps the sound to come across softer and smoother. We shall see.
Hidizs went with a fan favorite and used Sonion Balanced Armature Drivers to control the rest of the spectrum. They use a “17A003” low frequency BA which obviously is supposed to bolster the low-end bass by adding that BA snappiness and punch. Hidizs went with two “2389” mid-high frequency BA’s and a “E50DT” BA used for the high frequency. I personally love the choice of using Sonion drivers and adore the sound of them on most any set that is using them. Let’s put it this way, if I see “Sonion” used to promote any earphone… I’m interested.
Fit
One thing which matters more than almost anything is that the fit an earphone has to be a good one. I do have a hard time telling people that “THE FIT IS GREAT” when in reality we are all very much different, at least to a small degree. However, the MS5 is so snug in my ears that it is worth noting.One thing I did after playing around for a long time was finally reducing the size of the eartips that I was using and really pushing these bad boys inside my ears as deep as I could. The fit is so perfect, as if the MS5 grew there. So, will the MS5 fit you? I have no way of knowing, but what I will say with confidence is that they should fit the vast majority of people within the hobby. The shape of the MS5 is such that it is almost perfectly molded to my ears at least, which helps tremendously.
Isolation
When I have the MS5 in my ears and I’m jamming out to my favorite tracks I of course hear nothing of the outside world. Now, does the outside world hear my favorite tracks? Kind of. My daughter could faintly pick up what I was listening to and she was sitting right next to me so… Faintly is my answer. As far as isolation goes, you have to understand that Hidizs didn’t exactly build these for perfect stage use. The MS5 are built for casual listening and enjoyment. That being said, the isolation isn’t bad for a set with a semi-open design. Still, the MS5 will not attenuate like some “Shure” type earphones for example. I do think that the MS5 is perfect for casually enjoying my music and that is all that matters to me.Drivability
How easy is it to properly drive the MS5 to it’s best fidelity and auditory enjoyment? With an impedance of only 5.3 ohms and a sensitivity of 104 dB’s I find the MS5 does need a bit more power to properly push them to its best sound. I suppose a good and powerful dongle dac would suffice, much like my Moondrop Dawn 4.4. This pairing is actually quite nice as the warmer sound of the MS5 exists nicely against the more neutral Dawn and I get no hiss, even with the more sensitive rating. Using the IFi Go Blu I had plenty of power listening on either single ended or balanced. Even the Qudelix 5k had more than enough output power for the MS5 and they actually sounded quite nice together.I don’t think you need anything with Uber power. The MS5 is extremely sensitive. However, I have gathered that the MS5 opens up and adds so much with more power as dynamism and macro-dynamics increases as well.
Daps
Moving into more powerful daps I obviously had no problem driving the MS5 whether on single ended or balanced. I basically split time going from balanced to single ended during my listening, and I also spent most of my time using my iBasso DX240 or my Shanling M6 Ultra. I personally found that using the 4.4 balanced Kinera Leyding cable was a step up to my ears with both devices.Different sources
One thing which is a must to touch on is how the MS5 reacts to different sources. There is a definite difference in how it sounded through my Shanling M6 Ultra and how it sounds through my iBasso DX240. This is normally the case with any iem and source however I think it is exaggerated a bit more on the MS5.Synergy
I began listening with my Shanling M6 Ultra as it is the DAP I use the most. The M6 Ultra uses the AK4493SEQ Dac chip which has that “velvet sound”. The sound comes across a hint more warm and slightly fuller in the low-end. When I switched to the iBasso DX240 which uses the amazing ES9038Pro chip created a nice difference. The sound is more open, a hair crisper, just as dynamic, but the timbre is slightly closer to organic. Not a world of difference, but it is large enough to speak on here and add to this review. However, either one of these two daps sounds nicely warm and resolving with a big stage.Another nice option is something like the Moondrop Dawn 4.4 which really synergizes with the MS5. Of course, you’ll need a balanced 4.4 cable, but the sound is so crisp and vivid using the Dawn. In my opinion for $69 you simply cannot beat the sound of it, especially paired with the MS5 as it effects nice synergy. I do think that the MS5 does much better paired with a more neutral source to combat some of the overlaying warmth. However, I need to stress that no matter what source I used or how the MS5 reacted to those sources…the dynamism and fidelity remains very well achieved.
In a Nutshell Sound Impressions
Note: All critical listening impressions were done using foam tips. It should also be noted that I used the “Bass” nozzle during my listening. I also used flac files stored on my devices.U-shaped or L-shaped
I’ve already stated this but the MS5 comes across very warm, lush and full with slight dashes of treble sheen and brightness. Warm down low with a smooth timbre and tonality yet crispy and bright from the upper-mids on-out which is affected by the brighter treble. I would consider the MS5 to be a U-shaped sounding set to even an L-shaped sound to my ears. I’ve listened to this set for a ton of hours, and I am still trying to confirm either U or L shape.The MS5 is warmer than it is bright, and highly detailed. The MS5 has good note definition and comes across smoother down low and crisper up top. Tone and timbre are what I would call slightly “off-natural”. The MS5 timbre is not off-putting to me or too drastically colored to give bad marks for the way they sound. I feel the MS5 has good timbre, not organic but good, not completely natural but pleasing to listen to. The MS5 is a very highly resolving iem that has a holographic sound which reaches deep and wide with very good layering to my ears.
Burn-in
By the way, I gave the MS5 over 200 hours of burn-in with multiple stops to check for improvements. I can say that without question the treble has leveled off a bit. Albeit, not completely, but they also sound much better balanced because of the time I took to burn-in. This is one set which pays off to be patient and wait out the burn-in or listen-in process before judgements. I’m sure many will listen without doing so and judge a bit too early.Pint-sized overview
The bass hits with CRAZY AUTHORITY and has a seismic impact while also having a great amount of haptic feel to the sub-bass. I get no sense of distortion down low as it mostly comes across nimble and clean.The midrange replays slightly further back and not up in your face which contributes to the openness of the staging. Normally I wouldn’t like a stage such as this, however I find the MS5 does a good job with vocal distance. Not too forward and not too recessed. Most male singers have good note weight and females come across more svelte and thinner yet also more shimmery.
The treble region is where things can get pretty bright on the right tracks, and they do seem to affect the midrange quite a bit. We will cover that later. However, the treble is snappy and crisp and mature with a very detailed response.
The MS5 is technically a well accomplished iem with quicker drivers and good clarity for such a warm, lush and full sound. The MS5 has an uncanny ability to portray the macro-dynamics as profuse with a grand musicality while also being well adept to focus on the micro-dynamics leading to nice micro-details. But I’m getting ahead of myself. Let’s get into each 3rd of the mix.
Bass Region
The low-end of the MS5 “Dark Angel” is one of its greatest attributes. This is certainly an iem which requires the buyer to enjoy a bigger bass section and all which that entails. The bass is certainly emphasized with right around a 10db bass shelf give or take with a slight mid-bass priority. The low-end can flat out bang! In fact, I’m almost ready to call the graph a liar as I could’ve sworn the low-end had a few more db’s. Basically… she hits hard my friends! There is some very slight bleed into the midrange which is more of a benefit than it is a detriment as the upper parts of the frequency do add quite a bit of energy and so the offset works. The bass sets the tone for the whole frequency as a layer of warmth lays the groundwork for the final sound. Sub-bass
The sub-bass has a jarring rumble that stays clean and tight. I can quite easily hear every undulating rumbling drone in the song “Golden Child” by Lil Durk. The sub-bass has a reverberating and deep haptic energy that adds such a haunting character to this track. I think this song needs that sonorous growl to really help Lil Durk’s lyrics pop. Another track which displays this fantastic characteristic is “Rich Off Pain” by Lil Baby. The extension into the lowest of lows is evident here when you hear that first bass drop. My head bobs as though it’s on command listening on the MS5! I’m not kidding.These are two songs which require that tactile vibration. They require that chasmic, seismic and bold sound to jar loose the funk from within, and the MS5 does so with ease. I’ll say that again… with ease! As though it’s effortless due to quality drivers and the MS5’s nimble transient attack and release.
Mid-bass
There is a layered sharing of the bass region between mid & sub-bass. The mid-bass can boom with a hard impact which is perfect for bass slams adding unrelenting color and bone cracking boom to any track. The leading edge on attack has a bite to it, while decay/sustain evaporates quick enough to call it fast for its quantity yet slow enough to call it atmospheric.The kick-drums in “Old Man Gillich” by Muscadine Bloodline are deft, round, solid and resounding. I love a good kick-drum and the MS5 seems to replay them nicely. Or “Billie Jean” by Weezer, the kick drum in that song is so booming. The MS5 is one of the more satisfying sets I’ve replayed that song on. It sounds very thunderous, but also tight, round, and tactile. It’s a great track to listen closely for note definition, authority and speed of a kick drum.
Bass guitar replays well too. In fact it can be downright gravely, guttural and gruff on the MS5. Kinda like in “All of it All” by Lukas Graham. Every finger slide and pluck are easily heard, quickly followed by a resonant and full bass guitar. I’m telling you; bass guitar can get downright nasty on this set.
Bass head?
There is a certain fullness that not every iem can replay, and on the MS5 it is definitely a guilty pleasure type sound. There is such a nice texture to each track in my “Low-end Playlist” that I could hardly get myself out of it. The MS5 didn’t simply just “survive” my gauntlet of tracks, it celebrated them! The MS5 is so clean, so warm, so full, and so meaty, that anything within the lower 3rd of the spectrum is about to get an awakening.Would I call the MS5 a basshead set? Umm…sure. However, this isn’t just a one trick pony, and while there are certainly issues that I hear across the mix, I can’t help but run through some good low-end tracks. The bass has layers, and details, and it’s bone-thick in its density and hard lined on its note edges. It’s certainly not one-noted and not even remotely muddy sounding while keeping great control. It’s a good one y’all.
Too much?
Without question the MS5 will have too much low end for some. Still, that doesn’t make it bad, just not for those who don’t need a ton of bass. Also, calling this set “bass head” may give it the wrong stigma. This is a high-fidelity, high-resolution bass on the MS5. More like bass enhanced. Really, the bass is well layered with nice depth to the sound and great resolution to my ears. This is certainly a guilty pleasure type listen. Sure, it will be too much for neutral lovers, and not everyone has my taste, but seriously Hidizs, all I have to say is… Respect!Respect!
I think Hidizs did a phenomenal job in presenting a beefy low end which is deep and extended, yet also nimble and agile. Like a defensive tackle who runs a 4.5/40. It can hit hard, and with speed, and it can do so using any tuning nozzle. To go back to it though, yes, the MS5 will be too much down low for some. There is also some bleed into the lower midrange which in my opinion suits the overall MS5 timbre well. Especially since the treble region is so juiced up. Still, I’m saying it first (or not), not everyone will be a fan. Remember folks, this isn’t some cookie cutter tuning. It may take a bit to render your brain and listening ear to the beauty of the MS5, but when you do…you may say the same thing I did. Hey Hidizs… Respect!
Midrange
The midrange comes across relatively forward to the whole of the mix. It isn’t the type of forward which is presented “in your face” either, as the midrange expression and presence is more laid back yet it nicely refined. Resolution and clarity sound great and is very clean and believable with dense enough note weight. Note definition sounds very good both with voices and instrumentation. I do find that the excessive treble does make some females and even higher pitch tenors come across as slightly sharp depending on the track. Low-mids
Some male vocals have a softer edge to them which is pretty smooth as well as a very full sound, with ample vocal weight. They can be both lush and profuse, or sometimes even lean and dry, depending on the artist. For instance, “Blue Wall” by Noah Guthrie comes across very clean but not super robust in note weight. I say that but there is a nice density to his voice, or a sturdiness which sounds compact and not flat. There is also a smoothness to his vocal rendering. Noah’s voice comes across as accurate to life as far as the inflections in his voice and the density of his vocals are concerned. In louder passages of the song, I do hear some “sizz” surfacing his note outlines. Nothing that I pay much attention to but it should be added to this review.Very satisfying
I hear a more thick and robust quality in males such as Lewis Capaldi in “Maybe“. His voice mostly hangs a titch lower in the mix and holds onto some of the huskiness from the low-end. Then you look at tenors like The Avett Brothers in the track “Morning Song (Demo)“. They sound very clear and very transparent with a detailed display of the lead singer’s voice, which is sharp sounding and also very exact, while sounding a hint thinner in weight. I actually really enjoy the way it sounds. Perhaps a bit different than we are used to.“Any Love” by Dermot Kennedy is more of a contemporary pop track with an emotional tilted theme and his voice is mostly singled out during the course of the song. His light baritone voice has a boldness to it, or a brogue type accentuation which carries a melodic roughness to it. Listening on the MS5 he sounds gruff, warm, distinct, and sharply defined, with clean edges rendered more forward than usual. Bass voices like Avi Kaplan sound great. His deep and resonant voice pulls from the low-end with very nice definition, which is very satisfying to listen to on the MS5.
Baritones/Bass singers like Josh Turner in “Your Man” or even “Would You Go With Me” have a guttural deepness that comes across very canorous in its amplitude and rotund in weight. Especially when Josh drops his voice into the bass region, as it is something that he does in most of his tracks. The MS5 emphasizes the sound of the bass in his voice, and it comes across great with a softer leading edge on attack.
Upper-Midrange
Females can be vibrant, clean, and they can even have a luminance to them. In rare times they can be a touch shrill (depending on the track), but mostly they are svelte, silvery and unblemished. It’s actually not the most simple thing to explain. Based on the graph you’d think that females would be withdrawn, and laid back, but the lift in the treble region adds some bright timbre to females which is nice to my ears, but not 100% organic in timbre either. They have a nice tone color and texture. I don’t get that “BA timbre”or that “metallic timbre” from the MS5, which I’m sure is helped by using quality Sonion drivers. Certainly, this is an area which may be a point of contention for some who are used to more conventional tunings. This is also not your run-of-the-mill Harman sound my friends.Females
Gabrielle Aplin’s voice is rendered a bit more forward in the mix. Her voice comes across sharper than on other sets, but also, she sounds more highlighted as though the focus is on her. A spotlight I suppose. In “Half in Half Out” there is an almost forthcoming sense of emotion that the MS5 replays very well. This is sort of a softball type song, as most sets can at least minimally pull this off. However, what the MS5 does better is… it does so in a very resolute way, with a crispness which is sweet, articulate, delicate and defined, rather than coarse and grainy. The MS5 is simply a different take and tuning on a library of music that I know very well, and from a set that I am enjoying getting used to.Also in “Breathing Song” by Samia, again we see a more sharp but focused presentation. There is this edgy sweetness to her voice with very nice energy and enhanced with shimmery harmonics as the rolling intonations and fluctuations in her vocals are very well executed. The softness within her head voice echoes with supple and soft emotion and the MS5 captures this performance well. Again, resolution is very nice as her voice is brought into the spotlight and I hear a very natural sounding note weight.
Small issues
Now, can the MS5 become too sharp? You bet. There are moments that sound more shrill, shriek or hissy. They are few but they come around. Rarely with the bass nozzle and foam tips I should add, and more so with the other nozzles in my experience. “Good 4 You” by Olivia Rodrigo gets a bit HOT during the chorus of the song. You will also hear some sibilance in S and Z’s at times as there is almost a static note decay which can come and go before you even recognize it, unless you are paying attention to it and listening for it. However, the benefits and strong suits of the MS5 far outweigh the problem areas. If you even want to call them that.I just want to be 100% transparent. I’ve spent a multitude of hours dissecting the sound, listening to tracks I’ve heard a thousand times before. The songs I use aren’t even necessarily tracks that I would usually enjoy, but they are simply good for testing. I promise, this is not at all a bad set. The midrange is very detailed and very transparent, and resolution is very well accomplished on the MS5. This is most definitely a mid-fi experience which ranks up there with the big boys of the price point.
A nice mental image
In the song “Unstoppable” by Sia she comes across very bold and melodically raspy as her voice is very well separated from the surrounding melody and chaos of this song. Really this track has a lot going on, and the MS5 delineates her voice like a surgeon with a fine lined note edge and a powerful sound. The MS5 does a very nice job at capturing her sharper rasp in both the calmer beginning moments of the song and into the more ballad style chorus section. Instrumentation around her is very well bordered and easy to mentally picture, as the MS5 literally puts me 10 rows back in my mind. The transient agility is obvious on this set. I hear great macro-dynamics which simply have a fullness that is great, and it shows in a track such as this.The upper-mids is the area which carries the fundamental frequency of a cymbal strike, and one thing is for sure, the treble adds new and different life to them. The body of a cymbal strike on most tracks comes across vivid enough and energized with a solid quality to them. Strings are well captured, yet do come across a hair thin, or possibly a bit brighter than I am used to, but they still have a solid rebound and consistency. Snares pang a hue brighter too but do so with sunstantial enough body. This makes for a very fun and engaging listen. No, it isn’t 100% accurate but there is a high degree of transparency, with a very detail-oriented sound which still holds onto the dynamics of most instrumentation.
Treble Region
The treble is very resolving, mature, crisp and energetic with a very detailed approach up top. You can quite easily see how the MS5 shows off its pedigree compared to more budget sets.Depending on your nozzle choice it really will impact the sense of brightness and overall luster up top. Like I said, I use the bass nozzle which slightly levels off some of the peaks up top, and balances the entire mix for me. Now, the treble is not the most organic in timbre which seems to be a running theme. Still the other “running theme” is that it doesn’t come across as completely unnatural either. I quite like it actually. Also, please give me your best shot at explaining what “natural” is. Everything is subjective my friends. The point is, the MS5 is a slightly different spin then I am used to but still very nice to my ears.
Instruments
Instruments in this region have a definite and decisive snappiness to them which adds a lot to the overall tonality of this set. This type of treble adds a certain validity and depth to my music, or a more realistic feel I suppose. Violin has an energetic glow and a nicely waning decay to my ears. Secondary harmonics of a cymbal strike can sound a hint tizzy but it’s a short-lived issue as there is an immediacy to notes within the treble.I hear good treble punch, which in my mind gives a sense of depth to many recordings. This is a high fidelity and high accuracy type of treble, with a certain exactness to the sound. Like I said, the treble can be nice and snappy, adding a nice “icing on the cake” type of replay up top. I do believe that this region (treble emphasis) cascades into many areas of the mix and adds that lighter and brighter hue to other areas. For instance, females have that thinner yet bodied shine to them, which is certainly aided by the upper parts of the frequency.
Slight Issues
Now, there are some issues which can arise. One being that the treble may be a tad too much for anyone treble sensitive, or for anyone who appreciates a more warm, smooth, and dialed back treble. Personally, I don’t have this issue and I don’t consider the treble to be too bright, but I could easily see how one would. Certainly, when I used the treble nozzles, they added some peaky behavior to the sound. Another issue is the sibilance which rears its ugly head in tracks which are prone to it. I hear slight sibilance using the treble nozzle and even with the balanced nozzle for that matter, as they exaggerate the S & Z sounds which can be a problem for some. However, I do believe that treble lovers will likely enjoy this presentation quite a lot.The MS5’s treble is definitely highly resolving, almost an analytical type treble, and able to pick up the tiniest of minutia within a track which resolves any slight issues I may have. To be honest, the MS5 is perfectly justified in the upper 3rd of the mix for a mid-fi type sound. Great separation up top, a nice sense of texture, great pace and timing, and a nice contrast to the low-end.
Technicalities
Soundstage
The sound of the MS5 is dynamic and boisterous all the way to the outer edges of the sound field. We have good extension both ways which aids in an above average stage width. Height is pretty good as well. Something which I was impressed by is the perceived depth within the imaginary stage which does well to layer everything that I hear from front to back. Obviously the semi-open back structure helps in giving the MS5 a sense of air and space, but I don’t know how open the mesh on the faceplate truly is.All in all, the size of the stage is pretty darn nice, yet you shouldn’t expect a stadium sized expanse of acoustic joy. These are iems after all. However, the psycho-acoustic perception of the stage size is very satisfying to me. I can say with certainty that the stage does NOT feel closed in, or cramped, or congested at all. The MS5 is fun sounding, with a big and dynamic auditory expression which should please most listeners.
Separation / Imaging
Separation is one of the MS5’s “Pros” in my mind. I can hear each element of a stage (instruments/vocals) are nicely separated without any congestion. Another strong suit of the Hidizs MS5 is its ability to create a precise image of the stage. I should remind you that any earphone within this price segment should be able to do so. Some sets are better than others, but a clean and separated and well partitioned off stage should at least be moderately well done on any set in the price point. Separation and imaging should be a foregone conclusion. Thankfully the MS5 excels at this.I use different tracks in my “congested” Playlist using flac files stored on my devices. For example, “I’m Not Okay” by My Chemical Romance gets pretty blistery, and the MS5 keeps right up with the chaotic mess of sound. With its clean delivery, pacing, resolution, and due to the use of good drivers, the MS5 is very well accomplished.
Details
I think I’ve already spelled this out for you, but details are very well illuminated and defined within most any track and in most any genre within my music library. Each 3rd of the frequency (Bass, mids, treble) the MS5 is able to draw out the subtleties. I wouldn’t call the MS5 an absolute “detail king” but I will say that it performs much better than expected when listening with my sources and to my music library. The MS5 does very well in the details arena. The breath in a vocal, the finger slides of guitar strings, the little secondary harmonics of different instruments all adds a certain life to my music.The only time there is any type of overshadowing happening is in busy tracks with a lot of low-end activity. However, the bass is honestly fast enough, clean enough, and separated enough from the rest of the mix that it is hardly an issue. Or, at the very least, it isn’t something that I see as a problem at all.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets (that I’ve actually heard) or with similar driver implementations or styles. In the case of the MS5 that would be $300-$400 iems in any configuration. Keep in mind, a “5.0” is exactly average within the parameters that I’ve stated.Aesthetic
-Build Quality: 10.0-Design: 9.8
-Accessories: 9.5
–Overall: 9.8
Sound Rating
-Timbre: 8.7-Bass: 9.7
-Midrange: 8.8
-Treble: 9.0
-Technicalities: 9.8
Overall: 9.2
Is it worth the asking price?
This is always a tough question to answer and even more tough to answer for the collective of hobbyists. Let me explain. The Hidizs MS5 is a very well imagined, well implemented, well designed, and well packaged iem which has a tuning befitting a Mif-Fi priced iem. No doubt about it. However, the tuning is not the run-of-the-mill type of tuning. It’s different.The asking price of $499 is quite a lot for the average consumer and most people are looking for their “totl” set at this price. Not everyone has $400-$500 burning a hole in their wallets. Most people will be looking for a refined version of sets that they are used to. Better said, they will likely be in the market for a Mid-Fi “escalated and enhanced” version of typical tunings they know and understand. With that said, I absolutely think the asking price is fair, as the MS5 can stand in the midst of the big boys in the price point. I have seen worse iems that are priced much more than the MS5, in fact, a lot more. To be perfectly, unabashedly, and completely honest… I adore the sound of the MS5!! I love it. For me, without question the MS5 is worth the asking price.
No doubt about it
I also adore the look and the build as well as all accessories. Other than the exclusion of a modular cable. It is the market trend and is an easy addition which should’ve come with the packaging in my opinion. However, everything else screams high-end in my opinion. Hidizs went the extra mile to add the finishing touches, and made sure to release the MS5 when it was ready to be released. Are there flaws? Absolutely there is. Does every iem have flaws? 100% they do. Is there enough great qualities to the MS5 to recommend such an earphone? Absolutely there is. Does the MS5 perform well against its peers within the price point? No doubt about it.Loaded field…
Ya know, you start looking at the field of earphones in this loaded price point ($400-$500). There are so many safely tuned, repeated and regurgitated sets. Obviously there are also some bona-fide beasts which are simply phenomenal too. The Hidizs MS5 fights for relevancy in this loaded market, and I’d say that Hidizs went an interesting and genius route to gain that market share. I love the fact that they created an iem which can only bolster a collection by adding a set that isn’t the cookie cutter type. In addition to your safe earphones which you’ve collected and enjoy, you can also have the new MS5 which will give you an excellent and refined earphone which bucks the tuning trend, if you will.Personally, I have had the joy of being able to go through my huge library of music, listening to my favorite tracks the “MS5 way”. A slightly different take on my music, but wonderfully detailed, punchy & deep, warm, lush and very resolute. I say that, but I will also say that the MS5 will not be for everyone. Like everything, not everyone will enjoy this type of sound. Which is fine. That is what makes this hobby a great one. For me though, the first sentence of this paragraph says it all. I enjoy the sound and welcome Hidizs take on a true Mid-fi caliber iem. It is totally worth it, especially at the introductory price of $379.
Full Review can be found HERE
Conclusion
To conclude this review, I have to once again thank Bella for her timely and informative messages as well as Hidizs for choosing me to be one of the reviewers for the brand new Hidizs MS5. Thank you so very much. I have not been asked to skew my words. I have not been asked to go against my integrity at all and for that I thank Hidizs. They took a wild chance in this little venture and by all accounts I do believe their “chance” will pay off. Hidizs stands behind their product. Simple as that. They let the merits of their creation (MS5) do the talking and that is something which is respectable. Obviously, a lot of work, energy, thought and time has been put into this earphone, so I want to say… Great job!Please take in other views of the Hidizs MS5. Listen, read or watch other perspectives as we all have different likes and dislikes, we all have different hearing abilities, we can have different gear and we all haven’t been down the same audio journey. I believe it will be a huge help for you to do so. Also, thank you for reading and clicking on the link. I truly enjoy writing my little blurbs about the hobby that we all love. Please take good care and do your best to stay safe.
Ahamed Sojib
Nice review mate
cqtek
Great review, congratulations!
