DISCLAIMER

I would like to thank GeekWold for providing the GK10S unit.
It can be gotten here: https://www.aliexpress.com/item/3256806123759223.html (no affiliate links).





SPECIFICATIONS

• Driver configuration: 1 x balanced armature driver + 2 x piezoelectric ceramics drivers + 2 x dynamic drivers
• Impedance: 10 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 106 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. No info on cable material
• Tested at: $49.90 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone ear tips (S/M/L)
- 3 pairs of narrow-bore silicone ear tips (S/M/L)
- Cable
- Carrying pouch

Accessories are quite decent for a budget pair, can't nitpick too much here.




No foam tips are included, but we have 2 variants of silicone tips. The narrow-bore ones boost bass and tame the upper frequencies, whereas the wide-bore ones do the opposite, and open up the staging a bit.




The stock cable is a 2-pin one. While GeekWold has not provided any info on the cable materials, suffice to say, it is quite decent. Well-braided, the cable has no microphonics, but can be somewhat tangly.




GeekWold has added a leatherette soft carrying pouch to the accessories, which operates via a drawstring mechanism. It is not as sturdy as a hardcase, but should sufficiently prevent scratches.

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


BUILD/COMFORT

The GKS10S comes in a unique heart-shaped motif, with a marbled face-plate. Fashioned from resin, ergonomics are excellent - it is light and can be used for extended listening sessions. The inner aspects of the housings are smooth.




I did not find any driver flex on my pair. Being a vented IEM, isolation is bang average.


INTERNALS

The GK10S utilizes a very uncommon 1 x balanced armature driver + 2 x piezoelectric ceramics drivers + 2 x dynamic drivers setup. Unfortunately, we have no information on the driver brands used.


DRIVABILITY

I tested the GK10S with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven. However, with a 10 ohm impedance, based on the rules of eights, the GK10S is best paired with a source with < 1.25 ohm output impedance (10 divide by 8). If something with a higher output impedance is used, it might skew the frequency response and cause the GK10S to be super bassy and boomy.


SOUND & TECHNICALITIES


Graph of the GeekWold GK10S via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the GK10S sports an L-shaped bassy signature.

This IEM is sub-bass focused, with deep sub-bass extension and rumble. It is definitely one for bassheads in terms of quantity. Quality wise, bass is on the slow side, with below average texturing. The copious bass amounts contributes to mid-bass bleed, and the GK10S does not perform well when complex bass tracks come out to play - we hear smudging and smearing of the basslines sadly.

The lower midrange is recessed, and this region is very hefty, warmed by the aforementioned mid-bass bleed. Upper mids hit nearly 9 dB in ear gain - but surprisingly, this region is not shouty, due to the gargantuan bass balancing it out.

The GK10S is a dark IEM, with the treble rolling off very early. While this will be a treble-sensitive listener's cup of tea, we lose a lot of resolution and clarity in the mix. No doubt there is no sibilance, but cymbals and high hats are very muted, with a distinct lack of air and sparkle. The treble is surprisingly overdampened for a piezo/BA tribrid, where most piezos usually furnish exceptional treble extension.

Moving on from the niche tonality, the GK10S also sadly doesn't fare well in timbral accuracy. When acoustic instruments are heard, there is a marked metallic tinge, possible contributed by the piezos and BAs inside. Note weight is hollow and artificial.

More woes in the tuning are that the GK10S is sub-par when it comes to technicalities. While soundstage is above average in width, height and depth are just average. Micro-details and clarity are lacking, due in part to the dark treble. Instrument separation and imaging are also poorly done. Thus, we hear a somewhat wide soundstage with nebulous imaging, so notes are fuzzy in the headspace. I would describe the GK10S as sounding "lowFI".


COMPARISONS

Comparisons were made against other tribrids. Planars, single DD and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Kinera Celest Plutus Beast

The Plutus Beast boasts of a special configuration: 1 x 10 mm bone conduction driver + 1 x balanced armature driver + 1 x 10 mm square planar driver.

The Plutus Beast is also L-shaped and bassy, though with better treble extension and less bass than the GK10S.

Technically, the Plutus Beast is ahead, with better soundstage, imaging, instrument separation and micro-detailing.

It also has a lowish impedance at 8 ohms, which makes source pairing a tricky proposition.


Celest Phoenix Call

The Phoenix Call houses a DD + 2 BAs + flat planar driver. It is tuned to a more aggressive V-shape, with greater treble extension, though with some sibilance present, and may not be the best option for the treble-sensitive. Sub-bass is also lesser with the Phoenix Call.

The Phoenix Call is in another league when it comes to technical chops, with a more expansive soundstage, better micro-detailing, imaging and instrument separation.

The Phoenix Call has a thinner note weight, but is more agnostic with source pairing, as it has a 32 ohm impedance.


CONCLUSIONS

It is back to the drawing board for the GK10S. While on paper, it may have an eclectic driver setup, the final product is a mega disappointment. The L-shaped dark profile presents a very lowFI soundscape, with marked loss of resolution. While soundstage is acceptable, the fuzzy imaging and poor instrument separation gives a sense of muddiness.

Actually, there are other L-shaped tribrids such as the Plutus Beast that show how an L-shaped bassy signature can still keep decent resolution. Having said that, perhaps the GK10S will be a suitable IEM for the very treble-sensitive or those that want an immense bass rumble. Even so, bassheads may find the timbre and bass quality are not up-to-mark on the GK10S, so it is a case of bass quantity over quality.

Some redeeming points are the decent ergonomics and accessories, though the low impedance of this IEM may make it fastidious with source pairing, especially for gear with higher output impedance.

This IEM is not recommended. For similarly priced tribrids that are superior, check out the Kinera Plutus Beast or Celest Phoenix Call - even though those are not perfect, they at least do a much better job in other departments.

DISCLAIMER

I would like to thank the Simgot for providing this unit.

This DEW4X can be gotten here: https://www.linsoul.com/products/simgot-dew4x (no affiliate links).




SPECIFICATIONS/COMPATIBILITY

DAC Chip: Dual C43198 Cirrus chips
Weight: 24 g
Dimensions: 41.7 x 24.2 x 12.0 mm
Decoding specifications: PCM: 384kHz/32 bit; DSD: Dop 128/Native 256
Frequency response: 20 Hz - 40 kHz
Output ports: 3.5 mm (single-ended) and 4.4 mm (balanced)
Output power: 2 x 70 mW (3.5 mm) and 2 x 150 mW (4.4 mm)
Noise floor: 1 uVrms (3.5 mm) and 1.5 uVrms (4.4 mm)
SNR: 125 dB (3.5 mm) and 130 dB (4.4 mm)
Distortion: 0.00025% (3.5 mm) and 0.0002% (4.4 mm)
Tested at: $79.99 USD

The DEW4X is a plug-and-play device, with no need for the installation of additional drivers on Windows 10 and above. It was instantly recognized on multiple Android and Windows devices I paired it to (apologies I'm not an Apple user and can't verify compatibility with Apple ecosystem gear).

The DEW4X has no app, DAC filters or internal EQ software.

Interestingly, the DEW4X can be used for some gaming consoles (in UAC 1.0 mode). By default, it operates in UAC 2.0 on powering up. To get it to UAC 1.0, when the dongle is not powered, press and hold the "volume +" button, then connect it to the gaming console. Once it starts flashing, you will know that it is in UAC 1.0 mode.


ACCESSORIES

Other than the dongle, the DEW4X packaging contains:
- USB-A to USB-C adapter
- USB-C to USB-C cable



Unfortunately, there is no lightning adapter inside for our Apple fans.

The USB-C stock cable measures 105 mm, and is fashioned from OFC, with an EMI shielded sheathing. Braiding is good and it is supple.


DESIGN/FUNCTION

The DEW4X is manufactured from CNC-machined aviation-grade aluminum alloy, and is literally built like a tank. Sandblasting oxidation is then employed on the chassis to furnish a black matte finish.

It is extremely portable, weighing a mere 24 g, and measuring 41.7 x 24.2 x 12.0 mm. Indeed, its small profile should easily fit inside a pocket or little carrier, unlike longer and more obtrusive dongles.

This dongle does not have any LED screen display. On one end, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter having gold-plated reinforcement.




The opposite side has a USB-C port, for powering the device and data transfer.




On the lateral aspect, we have the volume buttons. These are round and large, which are easily pressed. Good haptic design IMO. The volume controls are finely-tuned to 30 steps, with independent control, unlike some pricier dongles like the Questyle M15. The device remembers the volume it was last used at, so replugging it into an upstream source retains the last volume setting.



Pressing both buttons simultaneously will toggle between the high and low gain functions.


INTERNALS

This dongle DAC/Amp houses dual C43198 cirrus chips, and can support up to PCM: 384kHz/32 bit and DSD: Dop 128/Native 256.


SOUND/PERFORMANCE

I tested the DEW4X with only Android phones and Windows laptops and PCs. As I am not an Apple user, I can't vouch for their performance with Apple devices.


Tonally, the DEW4X sports a warm neutral fatigue-free signature. This is very pleasant and suited for long listening sessions, and will be a kindred spirit for edgier or harsher transducers.

Bass extension is good, with some slight boost in the lower-end. Bass comes across as punchy and tight, with texturing a highlight. The midrange is relatively neutral and transparent. Treble has a tinge of roll-off at the upper treble, but this assists in bestowing a sibilant-resistant tone.

Timbre is very organic and natural, with a fuller note weight heard. Technically, soundstage is above average, with spaciousness heard. Micro-detailing is more than acceptable for a non-treble boosted source, with good imaging and instrument separation.

The DEW4X has 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with high and low gain settings. The latter 2 output provides more power. On high gain, with the 4.4 mm, the DEW4X is rated for 150 mW, which is very decent, but not class-leading.

My acid tests for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The above were tested with the 4.4 mm (balanced) port, on high gain.

The E5000 has decent bass speed and texturing, though there is a bit of a smearing noted during complex bass passages. The Sennheiser HD650 has surprisingly up-to-scratch dynamics, with a clean bass heard. I have to say though, that desktop-based amps - and perhaps some outlier dongles like the Fiio KA13 and KA17 - would do a more refined job for the E5000 and HD650.

Unfortunately, the DEW4X cannot pass the final boss. It is not a matter of volume, just that the Yinman 600 ohm has a bloated and one-noted bass, with dearth of dynamics. This is no shame though, as many pricier dongles and DAPs also fall short in powering this most demanding of earbuds, and generally a desktop-grade source is required to do the sonics justice.

This dongle doesn't hiss even with fussy high sensitivity IEMs, which reflects on quality internals. Simgot has provided no output impedance (OI) specs, but to my ears, the OI should be relatively low, as some of the low impedance IEMs I plugged in sounded similar in tonality.

The DEW4X may get slightly warm, especially when it is required to drive tougher transducers, but it is not scalding compared to rival dongles.


COMPARISONS

The DEW4X will be compared against some dongles that reside at just below the $100 USD mark.




Truthear Shio

The Shio is also a dual CS43198 DAC dongle, and it likewise has an independent volume controller. Tonally, the SHIO is warmer with more coloured and emphasized mid-bass. The Shio also pushes out 150 mW on its 4.4 mm port, which isn't anything to write home about when it comes to powering more demanding gear.

The Shio lags behind in technicalities, with a poorer soundstage, instrument separation, edge definition and imaging. The Shio is bigger in size.


Fiio KA13

The KA13 is a neutral bright dongle that utilizes dual CS43131 DAC chips. It also has an independent volume controller. The KA13 is more sterile sounding, with a thinner note weight. Timbre is worse on the KA13, and it is a tinge more fatiguing.

The KA13 has a slightly larger soundstage, with better micro-detailing, though the DEW4X has superior imaging and layering.

The KA13 can pump out 550 mW on its 4.4 mm desktop mode, which trumps the 150 mW on offer with the DEW4X. However, this big power comes at a price, as the KA13 is a battery-hogger, compared to the more efficient DEW4X.
The KA13 gets a bit hotter during usage, but has an app to play with filters and lighting.

The KA13 is larger in profile.


CONCLUSIONS



The DEW4X presents a warm neutral agreeable soundscape, with fatigue-free sonics. It pairs well with edgier gear to smoothen out the harshness in the top-end. Technicalities are above average, and timbre is a highlight. The DEW4X also boasts of compact dimensions, as it is much smaller in profile than rival dongles. It does not hiss with fastidious transducers, and the finely-tuned independent volume controls are much appreciated.

For most IEMs other than outliers, the DEW4X should do a solid job. However, it is not the most powerful dongle at this price range, so when facing some behemoths that have low sensitivity and/or high impedance, there may be uncontrolled bass and flat dynamics heard. It does get slightly warm, but there are worse offenders in this department.

All-in-all, the DEW4X is a decent entrant to the cut-throat dongle market, and for folks searching for something dulcet and soothing, this is one dongle to consider.

DISCLAIMER

The Grand Alter Saber 3 (GAS 3) was purchased by myself at full price.

It can be obtained here:
https://rikubuds.com/generation-3/
https://www.instagram.com/rikubuds/




SPECIFICATIONS



Tested at 150 Euros.


ACCESSORIES

Other than the earbuds, these are provided:
1) Large carrying case
2) White high-density foams
3) Red medium-density foams
4) Black low-density foams

The accessories are pretty generous.



The white dense foam adds warmth and bass, whereas the thinner black ones would make the sonics brighter and thinner. The red ones are a mid-point between the two. Adventerous folk can even combine 2 sets of foams (double foaming) to add girth and increase warmth if you would like, so do foam-roll and see what suits your preferences.




Rikubuds has included a large carrying case. Rikubud's logo graces the front, and the inner aspect has webbing to store accessories.



While this earbud's cables are not detachable by default, when placing an order, you can message Rikubuds to choose between various colours and terminations (4.4 mm or 3.5 mm). You can also opt for an MMCX detachable option, though this requires a top-up of 35 Euros.

The stock cable is on the thinner side, but it is supple and well-braided, with zero microphonics. It is a tinge tangly though. The right cable has a red band to mark that it is the right side, with a blue one on the left side, as per usual convention.




The GAS 3 has its own unique waifu, for those that are interested:


The rest of this review was done with the stock white (high density) foams. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The GAS 3 is fashioned from a RG39-1 shell. The housings are extremely ergonomic and light. The thin stem rests nicely in the intertragal notch, with excellent balancing of the centre-of-gravity, and I had no discomfort using these puppies for marathon listening sessions.


INTERNALS

This earbud utilizes a 15.4 mm light blue PET driver.


DRIVABILITY

I tested the GAS 3 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This flathead has a whopping 180 ohm impedance and 118 dB/mW sensitivity. It is rather hard to drive, and would benefit from amplification to tighten the bass and improve dynamics. Using the GAS 3 with a weaker smartphone won't do the sound justice unfortunately.


SOUND & TECHNICALITIES

Tonally, the GAS 3 is warm neutral. For folks who have had the pleasure of listening to the Sony IER-M9, the GAS 3 is a earbud form of this legendary IEM. Note weight is on the thicker side, with a pleasant and balanced soundscape.

The GAS 3, like most earbuds, is mid-bass focused, with a sub-bass roll-off. What the GAS 3 cedes in outright quantity, it makes it up in quality. Bass is nimble and fast, with decent texturing and minimal mid-bass bleed. It is far from a basshead set, but most other non-bassheads should find nothing much to complain in terms of bass calibre.

There is a bit of heft and warmth added from a bloom in the mid-bass, but the lower midrange is still relatively transparent, allowing instruments to be layered on a dark background. Upper mids are forwards without any shoutiness.

The GAS 3 sports a smooth treble with no sibilance or fatigue. While it is not exactly dark, trebleheads may want a tinge more pizzaz in the tuning. On the flip-side, this allows the GAS 3 to be used for long sessions. And for a treble that lies on the demure side, resolution is not lacking at all - many tuners overly boost the treble region to provide "fake clarity", which isn't the case here.

Speaking about technicalities, the GAS 3 definitely belongs in the TOTL conversation. Imaging is quite pinpoint, with an expansive soundstage with no compression heard, especially when well amped. Layering and instrument separation are well portrayed, and the GAS 3 handles complex passages in the music with aplomb.

Timbre is class-leading and is probably one of the best I've tried in a earbud. Timbre freaks will have a field day for vocals and acoustic instruments like woodwinds, brasses, percussions and strings.


COMPARISONS


Yincrow RW-2000

The RW-2000 is a warmish U-shaped set.

Timbre is natural too, but the RW-2000 has a weaker soundstage, with slightly poorer imaging and instrument separation. Edge definition is a tinge sharper on the RW-2000.

The RW-2000 has a detachable cable though, and can be worn over ears or cable down. The RW-2000 is much easier to drive.


Yinman 600 ohm

The Yinman 600 ohm is an L-shaped flathead, which is arguably one of the most power-hungry transducers, with specs of 600 ohm impedance and 87 dB/mW sensitivity. Thus, the Yinmans generally require a desktop setup to drive - which definitely limits its case use. It is harder to drive than the GAS 3, which already isn't that easy to juice in the first place.

The Yinman 600 ohm is thicker in note weight, with a more bombastic bass. The Yinman's bass descends deeper in the sub-bass regions, though it isn't as clean or textured, with mid-bass bleed noted. The Yinman 600 ohm is darker in the treble too.

The Yinman 600 ohm has inferior clarity, micro-detailing, imaging, instrument separation and soundstage. It also has a non-detachable cable.


CONCLUSIONS



The Grand Alter Saber 3 is a earbud version of the acclaimed Sony IER-M9, boasting of a warm neutral non-offensive tuning, with solid imaging and soundstage. The soundscape is very balanced with top-notch timbral accuracy to boot. Additionally, accessories are generous, with excellent ergonomics.

In stock form, the GAS 3's cable is non-detachable, but one can opt for an MMCX or balanced version with some added costs. The GAS 3 is also not for bassheads, but the bass quality is up-to-the-mark. One thing to note - the GAS 3 requires amplification due to the high impedance, and weak sources might not represent the sound fairly - so please ensure that there is a solid source before considering this earbud.

In conclusion, for earbud aficionados looking for a TOTL balanced earbud with high performance and refinement, the GAS 3 has my recommendation.

DISCLAIMER

I would like to thank the HIFIGO for providing this unit.

This Snowy Night can be gotten here: https://www.amazon.com/dp/B0CSSVN36L/aful+snowynight/ and https://hifigo.com/products/aful-snowynight (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

Retails at $109.99 USD.

The Snowy Night is a plug-and-play device, with no need for the installation of additional drivers on Windows 10 and above. I'm not an Apple user, but this dongle was immediately recognized on various Android devices and DAPs I connected it to. It has no app or internal EQ software, but there are 5 internal DAC filters to play with.


ACCESSORIES

During ordering, one can opt between a lightning or USB-C type cable, depending on whether you are an Android/Windows or Apple user.

Sadly, nothing else is provided inside the packaging. Specifically, there is no USB-A adapter provided, so you will need to source for one when connecting it to PCs or laptops for Windows users.



The stock cable is a 6N single crystal copper cable, with a fabric sheath to reduce EMI. The end terminals are mirror-like, and this is definitely one of the best-looking dongle cables for sure. This cable is touted to contain USB lossless transmission technology.


DESIGN/FUNCTION

The Snowy Night is a very portable device. It weighs 20 g and is compact enough to fit into pockets or to be stacked onto phones. The chassis comes in a black matte metal finish, and is solidly build. There are snowflake motifs gracing the front of the dongle as per its Snowy Night name.

This dongle does not have any LED screen display. On one end of the fuselage, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter having gold-plated reinforcement.




On the other end, we have the USB-C port for power and data transfer.




On the lateral sides, we have the volume controls. I am glad to report that these volume controls are independent, with finely-tuned volume steps. Some high-end dongles like the Questyle M15 do not have independent volume controls, so this inclusion is much appreciated.



A short press will change the volume up and down, whereas quick-pressing both buttons simultaneously will toggle between high and low gain. The LED will flash white twice to indicate it is high gain, while it will only flash white once when in low gain.

Long-pressing (>1 second) both volume buttons simultaneously will switch amongst 5 different DAC filter settings. Do explore with the various filters should you wish to, but they are quite subtle in the big scheme of things.


INTERNALS

This dongle DAC/Amp houses dual CS43198 DAC chips, and can support up to 32-bit/768kHz PCM and Native DSD256.




SOUND/PERFORMANCE

I tested the AFUL Snowy Night with Android phones and on Windows laptops and PCs. Apologies, as I am not an Apple user, I can't vouch for their performance with Apple devices.

Sound-wise, it is neutral, and lets the connected transducer do the colouring. It does not emphasize any frequency band too much. End-to-end extension is good, with no cut-off in the frequencies at either end.

In technicalities, this dongle cedes outright clarity and resolution to provide a more musical soundscape. Edge definition is slightly blunted to reduce fatigue and add some sprinkling of euphony to the sonics. Thus, the Snowy Nigh sounds smooth and refined. It will make a good pairing for harsher or sterile transducers, though folks who want to pick up every minute nuance in the music might need to look elsewhere.

Imaging is relatively accurate. Soundstage is a highlight on this DAC/Amp, with expansive width, height and depth noted. Instrument separation is also nicely done, with no claustrophobia noted in the sonics.

Timbre is very natural and sweet sounding, with the above mentioned rounded note edges.

The Snowy Night has 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter providing more power. On high gain, with the 4.4 mm output, the Snowy Night is advertised to hit 300 mW power.

My acid tests for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The above were tested with the 4.4 mm (balanced) port, on high gain.

Volume was not an issue with these 3 demanding behemoths, with headroom to spare in abundance.

The E5000 was driven acceptably, with decent bass tightness. Definitely desktop-grade amps would have done a better job, but not many dongles can lay claim to powering the E5000 to a satisfactory degree, with most dongle rivals causing the E5000 to sound one-noted and flabby in the bass.

The Sennheiser HD650 was juiced sufficiently, dynamics were-up-to scratch, with no compression in sound.

The final boss Yinman 600 ohm sounded a bit meh on high gain (4.4 mm), soundstage was a tinge scrunched, and the bass could have been tighter and more controlled. For sure desktop devices would have done a better job, but I've not encountered many dongles or even DAPs that could have done the Yinman 600's sound justice, so no shame here.

This dongle doesn't hiss even with fussy high sensitivity IEMs, which is a sign of good implementation of the internals. Unfortunately, no output impedance (OI) specs are provided on the product insert. FWIW, I think the OI should be relatively low, as some of the low impedance IEMs I plugged in sounded similar in tonality (i.e. not skewed by too high OI).

The Snowy Night, like the SNOW namesake suggests, remains cool to the touch even when driving heavy loads on high gain. This is once again appreciated, compared to rival dongles that sometimes get scalding during usage!


COMPARISONS

I will compare it against some dongles retailing at around the $100 mark.





Truthear SHIO

The Shio is also a dual CS43198 DAC dongle, with an independent volume controller. Tonally, the SHIO is warm with an emphasized mid-bass. Power is sadly anemic on the SHIO, with less headroom for hard to drive gear.

The Shio is technically inferior - it has a smaller soundstage, with worse instrument separation and imaging. The Shio is also hazier in resolution.


E1DA 9038D

The E1DA 9038D utilizes an ESS Saber ES9038Q2M chip. It is a sterile dead neutral set that is very analytical but with not much musicality. It does not have a volume control, and gets very hot during usage. The E1DA 9038D also maxes out at 180 mW output power, which is less than what the Snowy Night can provide.

The E1DA has a more claustrophobic soundstage, with weaker instrument separation, though it has a bit sharper edge definition to notes, with more clarity.

The E1DA only has a 3.5 mm output, but has firmware mods to change the sonics, and even has a tube amp sound version, for those that want more versatility.


Fiio KA13

The KA13 is neutral bright set that houses dual CS43131 DAC chips. It also has an independent volume controller (after firmware update). The KA13 has a thinner note weight with a more sterile tone. It is brighter in the upper frequencies too.

The KA13 has a smaller soundstage, but better imaging and micro-detailing, with a sharper edge definition to notes. Clarity is slightly better on the KA13.

The KA13 can juice out 550 mW on its 4.4 mm desktop mode, which dwarves the Snowy Night's output. The KA13 gets a bit warmer during usage, but has an app to play with filters and lighting.


CONCLUSIONS



The Snowy Night is a musical dongle DAC/AMP that combines a neutral soundscape with smoothness. It lives up to its namesake of Snowy Night - with rolled-off edges to notes, harshness is avoided, and this gives a rounded sweet tone to music. Soundstage is also commendable, with 5 DAC filters available.

This dongle does not get hot during usage, with no hiss noted on high sensitivity IEMs. I value the fine-volume steps with independent volume controllers, something which is not always available, even in pricier dongles.

For a dongle, the Snowy Night boasts of solid power output on the 4.4 mm port - at 300 mW - and also has a high gain function. It can power some demanding transducers serviceably, short of outliers, though of course dedicated desktop amps or some extreme dongles like the Fiio KA13/17 might fare better here.

This dongle is not the best option for folks who want something for critical listening or for analytical-heads, due to the blunted edge definition and placid tunes - it brings a musical panorama to the ears, rather than something very technical. It is a tinge pricey, but if smoothness personified is your cup-of-tea, with spacious and mellow melodies desired, then the Snowy Night should be considered in the conversation.

DISCLAIMER

I bought the EPZ X Tipsy Star & One at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006362747899.html (no affiliate links). This IEM is a collab with the CHIFI brand Tipsy and EPZ.




SPECIFICATIONS

• Driver configuration: 1 x 10 mm LCP + PU liquid crystal titanium composite diaphragm DD
• Impedance: 64 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 112 dB/Vrms (~ 100 dB/mW)
• Cable: 2-pin, 0.78 mm; 3.5 mm termination; oxygen-free copper silver-plated wire
• Tested at: $69.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone ear tips (S/M/L)
- Cable
- Carrying pouch

For something retailing at almost $70 USD, the accessories are pretty bare-bones. I've definitely encountered cheaper rivals with a more generous accessory spread, such as a wider array of eartips and/or a hard case.




No foam tips are included, and we only have one type of silicone tips. These tips are thankfully serviceable from a fit and sonic perspective.




EPZ has provided a 2-pin oxygen-free copper silver-plated cable. This lies on the thinner side and is somewhat tangly. I appreciate that there are minimal microphonics, and 2-pin cables are always my preferred termination, as MMCX may be more fragile with repeated cable swaps.




Lastly, we have a drawstring pouch to store the Star & One. Unfortunately, it is probably just sufficient to prevent scratches, and won't survive a drop or compressive force.

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


BUILD/COMFORT

The Star & One is one of the most beautiful-looking IEMs I've encountered, featuring a diamond-like motif on the housings. When placing an order, one can opt for a white or black-shelled variant. The shells are fashioned from 3D-printed resin, garnered from a wide database of ear anatomies.




Indeed, this IEM is one of the more comfortable sets, with well-designed ergonomics thru a little concha protrusion, without any poky internal aspects. I have used the Star & One for long listening sessions without issues.

I did not find any driver flex on my pair.


INTERNALS

The Star & One's engine is a 10 mm LCP + PU liquid crystal titanium composite diaphragm DD, housed with a double magnetic circuit acoustic structure. EPZ advertises that the acoustic chamber has a passive noise reduction chamber, and indeed, this IEM has good passive isolation - hitting almost 20 dB attenuation - and it would be a great companion for noisy environments.



It also has a semi-open front cavity, which is marketed to improve soundstage - and as we will read below, the soundstage is actually on the larger side.


DRIVABILITY

I tested the Star & One with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

Achtung! This IEM is not easy to drive due to the double whammy of a 64 ohm impedance and sensitivity of 112 dB/Vrms (converted to 100 dB/mW). It is not a matter of volume, but if not juiced well, the Star & One sounds undynamic, with poor bass texture, and a more intimate soundstage.

Additionally, jacking up the volume without adequate control will also result in a very shouty upper midrange. Amplification is thus required for optimal sonics.


SOUND & TECHNICALITIES

Graph of the Tipsy X EPZ Star & One via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Star & One follows the Harman curve, and is thus a very consumer-friendly tuned IEM, which should suit most music genres.

This IEM is sub-bass focused, with bass quantity just above neutral. It isn't a basshead set, but sub-bass has decent rumble and low-extension. In terms of quality, bass texturing is bang average, though it is nimble. Bass tightness will improve with amplification, and there isn't any mid-bass bleed.

The lower midrange is a bit recessed, but is still relatively transparent as there isn't big bass encroachment. Upper mids hit nearly 10 dB in ear gain, and vocals are just at the edge between forwardness and fatigue. Amplification will help control this area somewhat, and also avoiding the Star & One at loud volumes (Fletcher Munson curve).

The Star & One has relatively decent treble extension, but isn't a treble-head IEM. Sibilance is kept to a minimal, with no splashiness of high-hats or cymbals.

Timbre is very organic, and this IEM sounds extremely natural when acoustic instruments come out to play. This is one of my favourite aspects of the Star & One.

In technicalities, the Star & One is no slouch, and is competitive against other single DD competitors at the sub $100 bracket. Soundstage is quite expansive in all directions, with sound going beyond the ears, especially when paired with an amplifier. This is coupled with relatively precise imaging, with spacious instrument separation. Micro-details are finely captured. The Star & One is unfazed even with complex tracks with competing riffs, and it has crisp transients.


COMPARISONS



Comparisons were made against other sub-$100 single DDs. Planars, hybrids and pure BA IEMs are omitted, as the different transducers have their own pros and cons.


Simgot EA500

The EA500 has 2 tuning nozzles to provide more versatility. The EA500 lies towards a brighter Harmanish tone, and is more zealous in the lower treble, with less bass. As such, the EA500 sounds thinner, with more sibilance present. The EA500 sounds more fatiguing, and is probably not for our treble sensitive brethren.

In technicalities, these 2 are very solid contenders. The EA500 has better micro-detailing and clarity, with similar imaging levels. However, soundstage is more expansive on the Star & One with amplification, and it also has improved instrument separation over the EA500.

The EA500 does not require amplification, and is more easily driven.


Moondrop Aria 2

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is Moondrop's in-house variant of the Harman curve. Its sound signature is on the thinner side, with less bass but more treble than the Star & One. Timbre is a bit less natural on the Aria 2.

The Aria 2 is a league behind in technical chops, with poorer imaging, a more compressed soundstage, and weaker instrument separation.

The Aria 2 is easier to drive, but is heavier in weight, which may lead to ear fatigue during usage.


DUNU Kima Classic

The Kima Classic is a deeper V-shaped IEM, with a more scooped out midrange. The Kima Classic is also more fatiguing in the treble, with more sibilance.

The Kima Classic has a less natural timbre. In technicalities, it is substantially weaker in imaging, soundstage and instrument separation.

However, the Kima Classic is better accessorized, and is easier to drive.


CONCLUSIONS



The Tipsy X EPZ Star & One is a quality single DD to consider in the competitive sub-$100 realm. It does the 3 Ts of timbre, tonality and technicalities very competently - with soundstage and imaging a particular highlight. Timbre is also organic, in keeping with its single DD roots. This is topped off with a consumer-friendly Harmanish tone.

Additionally, the Star & One features stunning aesthetics, with comfortable ergonomics, and impressive passive isolation.

One area which needs to be flagged up, is its low sensitivity and high impedance, which necessitates at least a dongle DAC/AMP to get the most of out this set. It is not a matter of volume, but with weak sources, we hear a compressed soundstage, undynamic sound, shouty upper mids and a flabby bass. The Star & One's beautiful looks are unfortunately not paired with up-to-scratch accessories, and the upper mids are at the edge, especially at louder volumes.

Looking past these negatives, I still rate the Star & One highly - assuming one has an amp on hand - and one can think of the Star & One as a jack of all trades, yet master of aesthetics and soundstage!

PS. The greatest compliment I can give this IEM, is that my wife usually gives me the stare of death whenever a new IEM arrives in the mail. She was going to give me a earful when she happened to see this IEM's alluring shells. She held her tongue and asked if she could try it. Thereafter, I didn't see the Star & One for a week haha! Had to ask her to pass it back so I could write-up on it. Actually, I would consider getting the Star & One as a gift for others, though sadly, the power-hungry nature of this beast may preclude some lay-consumers who do not have anything more powerful than a phone.

DISCLAIMER

I would like to thank Linsoul for furnishing this unit.

The Ziigaat Cinno can be obtained here: https://www.linsoul.com/products/ziigaat-cinno (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10mm Liquid Crystal Polymer (LCP) dynamic + 4 x balanced armature drivers
• Impedance: 32 Ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 107 dB/mW
• Cable: 2-pin, 0.78 mm; 3.5 mm termination; no information about material
• Tested at: $99 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of silicone ear tips (S/M/L)
- Cable

For something retailing close to a 100 bucks, the accessories are downright disappointing. I've seen gear retailing at 1/4 the price with a better accessory spread - there's no case provided, and just one paltry set of tips are included.




Thankfully, the sole set of silicone tips are serviceable from a sonic and fit point of view.




Ziigaat has not provided any information on the cable materials. Suffice to say, it is a 2-pin cable, coming in a 3.5 mm termination. It is decently braided, though on the thinner side, with a chin cinch. Microphonics are sadly present.

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


BUILD/COMFORT



The Cinno is fashioned from grey plastic, with a teardrop-shaped design.

Ergonomics are top-notch, the housings fit well and are light, with no awkward protrusions along the inner aspects. Indeed, this IEM can be used for longer listening sessions without discomfort.



Despite being a vented IEM, driver flex was present with the stock tips. However, driver flex is partially dependent on ear anatomy and type of eartips, so perhaps sourcing for aftermarket tips might alleviate this to some extent. Unfortunately, isolation on the Cinno is sub-par, and it may not be that suited for noisy environments, as one might harm hearing health by trying to jack up the volume to overcome the outside noise.


DRIVABILITY

I tested the Cinno with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easy to drive. Amplification is not 100% essential.


INTERNALS

The Cinno is a hybrid.

It contains 1 x 10mm LCP DD, which takes care of the bass. 4 BAs - 2 handling the midrange/lower treble, and the last 2 settling the upper treble - complete the setup, with crossovers installed. We are not provided with any information on the BA brand unfortunately.


SOUND & TECHNICALITIES

Graph of the Ziigaat Cinno via IEC711 coupler. 8 kHz is a coupler peak.

In a sea of weekly Harmanish sidegrade releases, the Cinno is certainly unique tonally, featuring an L-shaped darkish signature.

This IEM is sub-bass focused, with decent sub-bass rumble. Bass is just a hair north of neutral and the Cinno is definitely not a basshead IEM. In terms of bass quality, texturing is above average, though bass speed is not the fastest. It can sound a bit ponderous during complex or rapid bass tracks, though there is no mid-bass bleed.

The lower midrange is just a tinge depressed, and we have a 5ish dB ear gain, contributing to a very pulled back upper midrange. This translates to vocals taking a backseat in the soundscape, and vocal-lovers might want to look elsewhere. But on the flip side, this IEM has no shoutiness or fatigue, and the "anti-pinna" gang might appreciate this quirky tuning.

Treble is also a subdued affair on the Cinno, and it comes across as dark with a lack of air. Treble-sensitive peeps will like the tuning, as there is no sibilance displayed, but this IEM is definitely a no-go for trebleheads or analytical heads. The signature sounds veiled with some loss of clarity.

Timbral accuracy-wise, it avoids the metallic and hollow BA timbre of traditional BA drivers, though the tamed upper mids and treble contributes to acoustic instruments sounding overly warm and thickened.

In technicalities, the Cinno has an above average soundstage width, with decent height and depth. Music can appear just beyond the ears. Unfortunately, instrument separation is sub-par, with middling imaging and layering. Hence, during complex tracks, music meshes into a nebulous blob - think of fuzzy imaging within a large soundscape; I personally would have preferred a more intimate soundstage with pinpoint imaging. Micro-detailing is surprisingly good for a darkish signature, and finer nuances in the music can still be picked out, without the need for a steroid-boosted upper mids/treble, but note edge definition is blunted.


COMPARISONS

Comparisons were made against other hybrids around the $100 USD mark. Planars, single DDs and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




Truthear HEXA

The HEXA is neutral with a sub-bass boost. The HEXA has a more metallic timbre, with a thinner note weight, and a more anemic mid-bass.

The HEXA has better treble extension, and has superior micro-detailing and imaging. Soundstage is smaller on the HEXA but the pinpoint imaging and superb layering makes it easier to locate instruments in the headspace. The HEXA is harder to drive and would benefit from amplification.


Simgot EM6L

The EM6L is a Harman-tuned hybrid. It has more bass and upper mids, plus greater treble extension.

Timbre is a bit more natural on the EM6L. The EM6L has a smaller soundstage, but tighter imaging and better micro-detailing.


CONCLUSIONS

The Ziigaat Cinno is an odd fish. Tonally, it is different from the dime-a-dozen Harmanish fare we see every week, and indeed companies that attempt out-of-the-box tunings should be lauded.

However, the Cinno's tuning may veer to too unconventional - the overly restrained upper mids and treble does affect tonal and timbral balance, and vocals are very pushed back in the soundscape. Having said that, we hear no shoutiness at the midrange, nor fatigue in the treble, which may suit our treble-sensitive brethren.

Technicalities are a mixed bag. While soundstage is on the larger side, with decent micro-detailing, the mediocre imaging and layering contributes to a wooly soundscape where it is hard to pick out instrumentation. There are many stage monitor-type IEMs that have a similarly darkish and toned-down upper frequency band, but these retain good imaging and layering, which is sadly something the Cinno fails to achieve.

In terms of non-sound aspects, the Cinno has comfortable ergonomics and easily drivability. However, driver flex, poor isolation and a dearth of accessories are blots in the book.

Overall, the Cinno certainly is a unique IEM. Its case use scenario is quite limited though, and it would be a soft recommendation for folks who are treble and upper mids averse, or for audiophiles searching for a chill and laid-back set with an expansive - though not tight - sound.

DISCLAIMER

I would like to thank Hidizs for furnishing this unit.

The MP145 Titanium Edition can be obtained here: https://www.hidizs.net/products/hid...ear-monitors-for-audiophiles-and-music-lovers




INTRODUCTION

If you ask audiophiles in the various forums what is their favourite planar IEM of 2023, many would quote the Hidizs MP145 as one of the gold-standards. Why is that so? The OG MP145 is well-regarded as it melds timbre, technicalities and tonality nicely, with 3 tuning nozzles to increase versatility too. Additionally, the MP145 has a cavernous soundstage!

Hidizs actually has a lesser known Titanium version MP145, which retails at almost double the OG's price, at $339 USD. This is a limited edition product, with only 199 pieces available worldwide. The drivers are the same, but the Titanium shell imparts a different tuning, due to a non-identical resonance and material of this exotic material.

Many esteemed reviews have already been written about the OG MP145, which you can check out here: https://www.head-fi.org/showcase/hidizs-mp145.26656/reviews, but today we will dive into detail for the Titanium variant!


SPECIFICATIONS

• Driver configuration: 14.5 mm planar magnetic driver
• Impedance: 30 Ohms
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 104 dB
• Cable: 2-pin, 0.78 mm. 4 strand silver-plated single-crystal copper cable; 3.5 mm and 4.4 mm cables available
• Limited Titanium edition retails at: $339 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of "balanced" silicone ear tips (S/M/L)
- 3 pairs of "bass" silicone ear tips (S/M/L)
- 3 pairs of "vocal" silicone ear tips (S/M/L)
- 2 Leatherette storage pouches
- 2 cables (one with 4.4 mm termination and one with 3.5 mm termination)
- 3 pairs of tuning nozzles
- Small case for tuning nozzles
- Hidizs 10th anniversary plaque

Take note that the accessories here are different from the OG MP145, with more goodies included here (which partially explains the price increase).

The accessories are more than decent for a midFI priced IEM, perhaps other than the lack of a hard case, and perhaps the exclusion of foam tips. No doubt the Titanium shells can survive a drop or fall, but it would have been nice to have a legit hard case to protect it on-the-go.




3 types of silicone eartips are included. The "bass" tips have the narrowest bore, and boost bass the most, as per its namesake, though at the expense of soundstage. The "vocal" tips lie on the other extreme - with the widest bore - and they increase air, sparkle and soundstage. Lastly, we have the "balanced" tips, which as their name suggest, are a midpoint between the above two tips in sonics.

Do explore to see what suits your needs in terms of sound, fit and isolation.





Hidizs has provided 2 cables, which are silver-plated single-crystal copper ones, with decent braided and minimal tangling. There is a chin cinch for added grip, with no microphonics. One comes in a 3.5 mm (single-ended) terminal, while the other has a 4.4 mm (balanced) one, which increases source-pairing permutations. 2-pin cables are always my preference as they tend to be more sturdy with repeated cable swaps, compared to MMCX.




This is a tunable IEM, with three tuning nozzles included, and they come in their own transparent hard case. We will discuss further about the nozzles below.

There is a special 10th anniversary Hidizs plaque inside the box, but beyond looking cool, I'm not sure how practical this is.




Last but not least, we have 2 leatherette storage pouches. The innards are lined with a velvety material to cushion the contents, and they open and close via a clasp mechanism.

The rest of this review was done with the stock cable and stock "balanced" silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



As per the Titanium Edition moniker, this IEM is purportedly fashioned from titanium. Titanium is a sturdy material, and this IEM is literally built like a tank, and feels even more robust than the OG MP145.

The Titanium variant has a mirror-like golden finish, compared to the matte grey version of the OG. While I have confidence the shells can survive a drop or knock, the mirror-like exterior may be scratch or fingerprint magnets, so do be careful nevertheless.




The Titanium version has the same dimensions and size as the OG MP145, but is understandably almost double in weight!




Indeed, the OG MP145 is affectionately referred to as the WHALE, as not only has Hidizs partnered with the Whale and Dolphin Conservation (WDC) for this project, but the MP145's housings are gargantuan. The sumo-sized shells do contribute to a cavernous soundstage, but are a double-edged sword, with potential fit issues for smaller ears.



Nevertheless, I found the Titanium variant's comfort to be surprisingly decent - with no rough protrusions on the inner aspects to poke the ears - even for longer listening sessions. However, the as alluded to, those who find contentious fit with the OG MP145 may face similar issues, what with a heavier weight added, so the shells may occasionally drop out of the ears with head movement. Getting a more secure eartip fit may mitigate this.



Like the OG, the Titanium variant has numerous vents - one on the inner aspects, and two lateral vents that are "hidden" along the face plate - these contribute to the tuning and soundstaging. Isolation is actually better here than with the OG MP145 (which was below average), and this may possibly be a result of the different material used.

Despite being a vented IEM, I did detect instances of driver flex during IEM insertion, but this can be alleviated with eartip choice. Driver flex is also partially dependent on ear anatomy, so YMMV.


DRIVABILITY

I tested the MP145 Titanium Edition with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately easy to drive. While weaker sources can power the MP145 Titanium Edition, amplification is recommended to improve scalability, in terms of dynamics, bass tightness and soundstage.




INTERNALS/TUNING NOZZLES

The Titanium Edition, like the OG MP145, contains a 14.5 mm planar driver, with 7 N52H magnets sandwiching it on the front, and 7 more on the back; these are advertised to decrease distortion and provide a more efficient magnetic circuit, an almost 1 Tesla flux obtained.

This IEM has 3 tuning nozzles, which confers some differences in the frequency response, mostly in the upper mids and treble regions:

Graph of the MP145 Titanium Edition via IEC711 coupler. 8 kHz is a coupler peak.

The MP145 Titanium Edition is a U-shaped beast, with the silver nozzle providing the brightest tuning, and the red nozzle in the darkest extreme.

Technicalities, soundstage and clarity are understandably better on the silver nozzle, with some resolution loss and compression on the red ones. The gold nozzle is a midpoint between the two in technicalities and treble extension, and is probably a good compromise amongst the 3 nozzles, retaining the strengths of both sets.


SOUND & TECHNICALITIES

The rest of this review will be done with the MP145 Titanium Edition on the balanced (gold) nozzles.

With the gold nozzles installed, we hear a U-shaped tonality, which is pretty all-rounded for most music genres.

Unlike the OG MP145, the Titanium version has more sub-bass focus, with a deep sub-bass rumble and extension on bassy tracks. Bass quality is solid, with nimble speed and solid texturing, coupled with minimal mid-bass bleed.

The lower midrange is just a tinge recessed, but is pretty transparent, allowing instruments to be layered well on a dark palette. The upper mids hit around 7 dB in ear gain, so vocals are forwards without being piercing - this is a tough line to balance and I think Hidizs has nailed it here.

The treble is quite well extended, being on the slightly brighter side of the equation. There is mild sibilance noted, but we are provided with good air and sparkle. Resolution and clarity are top-notch. Folks who are treble-sensitive may perhaps opt for a narrower-bore eartip or try the red nozzle to tame the treble to their tastes.

Personally, I'm treble-sensitive and the gold nozzle is my favourite pairing - the silver one is a bit too hot for me and the red one has compromises in resolution.

Timbral accuracy is decent for a planar IEM; there's a slight planar sheen noted due to the very fast transients, but by and large, it portrays acoustic instruments quite authentically, though perhaps the OG MP145 is a bit better in this department.

Planar IEMs raison d'être are their technicalities. The MP145 Titanium Edition is a king in this aspect, and boasts of a colossal soundstage when amplified - I daresay it is even larger than the OG MP145's, which is already very extensive. Imaging is almost pin-point, with layering and instrument separation stellar due to this expansive soundscape. Micro-detailing is well rendered. Soundstage and technical junkies will like what they hear on the Titanium Edition.


COMPARISONS

Comparisons were made against other planar IEMs. Hybrids, single DDs and pure BA IEMs are omitted, as the different transducers have their own pros and cons.




VERSUS OG MP145

The OG MP145 has 3 tuning nozzles too, but despite using the same drivers, due to the different shell material and resonances, it sounds different from the Titanium version.

I have graphed in isolation, the individual tuning nozzles versus the OG:

Graph of the MP145 Titanium Edition versus OG MP145 utilizing only silver nozzles. 8 kHz is a coupler peak.


Graph of the MP145 Titanium Edition versus OG MP145 utilizing only red nozzles. 8 kHz is a coupler peak.


Graph of the MP145 Titanium Edition versus OG MP145 utilizing only gold nozzles. 8 kHz is a coupler peak.

Across all nozzles, the Titanium version has a deeper sub-bass, with a hair increase in upper mids. The Titanium version has generally more treble air, extension and sparkle too, other than on the silver nozzle. All nozzles furnish less mid-bass thump, but a cleaner and fast bass on the Titanium Edition.

The Titanium Edition has superior imaging, micro-detailing and resolution, with a slightly larger soundstage over the already huge soundstage of the OG. The OG MP145 has a bit of a thicker note weight with a more natural timbre.

Both siblings have about the same drivability, though the Titanium version has better isolation. Both shells are of the same dimensions, though the Titanium MP145 is heavier, as described above. The Titanium version is better accessorized, as befits its price, with 2 cables provided instead of the OG's sole cable.

However, we are certainly in the realm of diminishing returns amongst the two brothers. The Titanium variant is around double the price of the OG, but it isn't exactly 2X better. But that's par for the course once you go up the ladder. I think fans of the OG MP145 who are searching for a more resolving and bass-lite version (though with better bass quality), may not mind coughing up more for these technical improvements.


VERSUS LESTHUOER S15


Graph of the MP145 Titanium Edition with gold nozzles versus the Letshuoer S15. 8 kHz is a coupler peak.

The S15 is warmer with a thicker note weight, with less treble extension and sparkle.

The S15 is a league behind in technicalities, with inferior soundstage, imaging, micro-detailing and instrument separation. However, the S15 has a more natural timbre.

Both sets have driver flex. The S15 has a modular cable, and both require about the same power to drive.


CONCLUSIONS

The OG MP145 is rightly heralded as one of the benchmark planar IEMs. The Titanium Edition ups the ante a few notches, and is literally an MP145 on steroids: think of something with an even grander soundstage, better resolution and imaging, with a tighter and cleaner bass.

This is contributed by the Titanium version's shell material and resonances, despite the two siblings packing the same planar driver internally.

Other than being an improvement over the predecessor MP145 in technical chops, the Titanium variant also comes with more luxuriant accessories, better treble extension and a deeper sub-bass descent. Isolation is also greater.

Both MP145 siblings have similarly huge shells - this contributes to the massive soundstage on tap - but the Titanium Edition is almost double in weight. Sadly, the driver flex encountered in the first version is still present here.

Fans of the OG MP145 who love its thick note weight, hefty mid-bass, and natural timbre might want to stick to that, but it is good we have 2 options on the table - the Titanium Edition will surely cater to technical junkies who want a more resolving sound, with a voluminous soundscape. We have to note that the 2X price differential does result in diminishing returns, but the Titanium variant handily beats similarly priced planars like the Letshuoer S15 in technicalities and end-to-end extension.

In a nutshell, folks who want to go even deeper down the planar rabbithole should look no further than the MP145 Titanium Edition - it is a formidable set, with soundstage the star of the show. Technicalities are excellent, with versatility on display from the 3 tuning nozzles, and it does most departments very well.

DISCLAIMER

I would like to thank the AngelDAC Audio store for providing this unit.
This Muse HIFI M3 II can be gotten here: https://www.aliexpress.us/item/1005005842194604.html (no affiliate links).




SPECIFICATIONS/COMPATIBILITY

- DAC chip: dual CS43131
- Two SIP amplification modules
- Weight: ~ 50 g
- Dimensions: 59.5 x 29.5 x 15.5 mm
- Supported audio formats: up to PCM 32bit/384KHZ, DSD256
- USB connector: Type-C USB
- Output interface: 3.5 mm (single-ended) and 4.4 mm (balanced)
- 2 gain modes; DSD exclusive mode; gaming mode
- THD+N：-103dB @ 4.4 mm/4 Vrms , -100dB @ 3.5 mm/2 Vrms
- Signal-to-noise ratio/output：130 dB @ 4.4 mm/4 Vrms, 125 dB @ 3.5 mm/2 Vrms
- Output impedance: no info; but rated for 16 Ω - 600 Ω transducers
- Power specs: no info
- Tested at $169 USD

The M3 II supports various file types and sampling rates up to:
- PCM: 32bit/384KHZ
- DSD256

It is a plug-and-play device, with no need for the installation on additional drivers. I'm not an Apple user, but the M3 II was immediately recognized on various Android devices and DAPs I connected it to. It has no DAC filters, apps or internal EQ software to play with unfortunately.


ACCESSORIES



Other than the M3 II dongle, these are included:
- 1 x USB-A to USB-C adapter
- 1 x USB-C to USB-C cable
- 1 x lightning to USB-C cable



The accessories are generous and practical. Many dongles do not include lightning adapters, so our Apple users will be pleased to note about the inclusion of a lightning adapter. Essentially, other than legacy phones that use micro-USB ports, most other Android and Apple phones and laptops should be compatible with this dongle.

The stock cables are a single crystal copper silver-plated mix, and are sheathed and shielded well, with negligible microphonics.


DESIGN/FUNCTION



The M3 II reminds me of a cigarette lighter, with a classy silver all-metal chassis, with rounded edges. It is literally built like a tank!

Measuring 59.5 x 29.5 x 15.5 mm, and weighing a hefty 50 g, this dongle is on the heavier side. Dangling it from a phone may put wear and tear on the jacks to be honest, so portability may be an issue. I would personally prefer to keep the M3 II tethered to a laptop or desktop, unless you have something to tie it down to when out-on-the-go with a phone.

The M3 II has no screen display. On one end of the fuselage, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports, with the latter having gold-plated reinforcement.



On the opposite end, we have the USB-C port, which doubles as a powering port and a data line.

On one side, we have the volume controller. Sadly, this is not an independent volume controller, and the volume steps are quite far apart. I do hope that Muse HIFI can perhaps address this area with a future firmware update.



Long-pressing the minus volume (volume -) button will toggle the high gain function. For our gaming friends, Muse HIFI markets that activating this long-pressed minus volume button when connected to a newer gaming console will trigger an Esports mode, whereby 3D imaging and soundstage is improved. Apologies I'm not a gamer, so I do not have consoles to put this to the test. For our DSD aficionados, this dongle has an automatic DSD exclusive mode for this file type.

Indeed, along the same lateral side of the body, is an LED light, which displays the following info:
- White - normal usage
- Green - DSD exclusive mode
- Red - high gain mode


SOUND/PERFORMANCE

I tested the Muse HIFI M3 II with Android phones and on Windows laptops and PCs. Apologies, as I am not an Apple user, I can't vouch for their performance with Apple devices.

This DAC/Amp's engine is an independent dual CS43131 DAC chip with two SIP amplification modules, via a 4-channel signal decoding setup.



This dongle is tuned warm-neutral; it is thick in note weight, with a boost in the lower mids and mid-bass. This endows a euphonic and somewhat coloured signature, that is pleasant and inviting. This makes a great pairing with brighter or edgier transducers to take the edge off the upper end.

The aforementioned mid-bass boosted area adds heft to the lower frequencies. The sub-bass rumbles deeply, especially on bassier transducers. We hear a luxuriant and syrupy midrange, though listeners who want a very transparent midrange might need to look elsewhere. This is a musical dongle that gives beefy overtones, though without overly lacking in treble extension or veering to a darkish signature. It is relatively sibilant-free. Timbre is rich and dense.

With regards to technicalities, the M3 II is one of the most spacious-sounding dongles. Soundstage is its forte - we hear music propagated beyond the ears, with nice height and depth. It is probably a dongle with one of the widest soundstages I've tried. Imaging is not exactly pin-point but is relatively accurate. In view of the rolled-off treble, the M3 II is not class-leading in micro-details, but instrument separation and layering are solid. Edge definition is slightly blunted, but that furnishes a fatigue-free soundscape.



Unfortunately, the company has not given us detailed specs for the power output. Nevertheless, from actual listening, power seems pretty respectable for a dongle, which we will dive into below. The high gain function definitely adds more power on tap, for harder to drive gear.

My crucibles for source testing include 3 of my hardest to drive gear:
1) Final Audio E5000 (low sensitivity at 93dB/mW)
2) Sennheiser HD650 (high impedance at 300ohm)
3) Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)

The above were tested with the 4.4 mm (balanced) port, on high gain.

Volume was not an issue with these 3 tricky customers, with lots of headroom to spare. The E5000 was driven acceptably, with solid dynamics, though bass tightness could be a tinge sloppy compared to more powerful sources like desktop-level amps. The HD650 was juiced nicely, it didn't sound boring or anemic unlike from weaker sources, without claustrophobia. The final boss Yinman 600 ohm was powered decently - legit desktop devices would arguably have provided more authoritative dynamics, though the bass was still quite well controlled for a dongle.

This dongle doesn't hiss even with fussy high sensitivity IEMs, but I suspect the output impedance of this dongle is on the higher side. It is marketed to be suitable for 16 Ω - 600 Ω transducers, so based on the audiophile rules of 8ths, if we divide the 16 by 8, that gives a 2 Ω output impedance. As such, low impedance gear may possibly be skewed in sound (if there is a variable impedance response), and the M3 II probably will not be a kindred spirit with stuff such as the infamous Campfire Andromeda.

Something different from the predecessor (original M3), would be a lower power consumption (and less heat generated), due to a TOREX power management engine installed inside the M3 II. Indeed, despite using the M3 II for hours with harder to drive gear, it doesn't heat up much, and remains relatively cool, unlike some other rival dongles.

I didn't like that there was a small "pop" sound heard when disconnecting transducers from this dongle, even when sound was muted or at zero.


COMPARISONS

Comparisons were made with other dongles above the $100 USD mark.



Questyle M15

The M15 is a more neutral dongle, sporting an ESS ES9281AC DAC chip. It is not as coloured as the M3 II, and is "reference" sounding, with a not so much thickened bass. Bass is however tighter and more controlled on the M15, but not as rumbly.

The M15 doesn't have an independent volume control too, though the volume steps are more refined. In technical aspects, the M15 has a smaller soundstage, but better imaging and micro-detailing. It runs cool and doesn't draw much power too.


E1DA 9038D

The E1DA 9038D houses an ESS Sabre ES9038Q2M chip. It is dead neutral and more sterile in note weight. The E1DA is harsher and more sibilant in the treble, with less bass.

The E1DA has quite a lot on power on tap for a single-ended source (200 mW @ 40ohm), though it doesn't have as much headroom as on the M3 II on single-ended. The E1DA also gets noticeably much hotter than the M3 II during usage.

The E1DA unfortunately does not have a volume controller on its body, and comes only with a 3.5 mm port. There is a firmware mod to modify the sound, in addition to giving it a tube-like sound variant, so perhaps it may be more versatile for folks who want to play with the mods.

In technical aspects, the E1DA has a smaller soundstage, and sounds more compressed, with inferior instrument separation and layering.


Cayin RU7

The RU7 is a 1bit dongle, that also has a warm soundscape. It is darker and more analoguish sounding, though with a less pronounced mid-bass.

The RU7 gets noticeably warmer during usage. The RU7 is slightly less wide in soundstage (though still quite good for a dongle). The RU7 has poorer imaging but is a bit more natural in timbre.

The RU7 is a more expensive dongle, but has a LED screen display with 3 filter modes for DSD filtering to vary the sonics a bit. The RU7 has some soft clicking sound in between tracks or when switching songs - this is the DSD conversion in play, whereas the M3 II is more silent.


CONCLUSIONS



The Muse HIFI M3 II is a warm-neutral source, which offers dulcet and smooth tones, what with its thicker note weight and coloured bass. It is a great match for brighter or edgier transducers, and the conference of a lush midrange is one of its plus points. The M3 II has one of the most expansive soundstages I've heard in a dongle, and that is definitely my favourite part of the sound.

It is solidly built - though some might say, too solid, with its heavy weight and size perhaps precluding portability. Thankfully, it is well-accessorized, and has no hiss with the usual high sensitivity suspects, nor does it get hot during usage. Power output is also respectable. Our gaming friends or DSD users might also appreciate the added exclusive modes.

The M3 II unfortunately does not have independent volume controls, and the volume steps are not the most accurate. The output impedance also probably lies on the higher side, and it might not be the cup of tea for purists who yearn for a dead neutral source.

The M3 II releases into an awkward price range, as it is not a sub-$100 dongle, but it is actually reasonably competitive against some pricier benchmarks like the Questyle M15 and Cayin RU7 in some aspects. Though not perfect, for dongle-lovers who want something warmish and exuberant - with a humongous soundstage - the M3 II is certainly special.

DISCLAIMER

I would like to thank HIFIGO for providing the Plutus Beast.
It can be gotten here: https://hifigo.com/products/kinera-celest-plutus-beast (no affiliate links).





INTRODUCTION



For fans of ancient mythology, the Plutus Beast - also known as Tianiu, Bixie, or Baijie - is a prominent celestial being that guards the heavenly realms. In Chinese customs, it is regarded as a highly auspicious animal, with a tiger's body and the tail and head of a dragon. This beast symbolizes wealth, and is said to have awesome might.


SPECIFICATIONS

• Driver configuration: 1 x 10 mm bone conduction driver + 1 x balanced armature driver + 1 x 10 mm square planar driver
• Impedance: 8 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm cable; 8 core silver-plated copper cable; choice of 3.5 mm or 4.4 mm termination
• Tested at $89 USD

ACCESSORIES

Other than the IEM, these are included:
- Celest 221 "vocal" eartips (S/M/L)
- Celest 608 "balanced" eartips (S/M/L)
- Cable
- Leatherette carrying case
- Cleaning brush
- Metal bookmark

For a sub-$100 USD IEM, the accessories are quite premium.




While no foam tips are included, we have 2 variants of silicone ones. The all-black Celest 221 tips AKA "vocal" tips are wide-bore, and increase treble air and soundstage. The narrow red-bore Celest 608 "balanced" tips boost bass with some compression in soundstaging.




The stock cable is a 2-pin 8 core silver-plated copper cable, with 3.5 mm (single-ended) or 4.4 mm (balanced) terminations available. This cable is quite well-braided, with a chin cinch and minimal tangling. However, there are microphonics present on it.




Next, we have a round clam-shell leatherette carrying case. It is semi-rigid, with the internals containing webbing and a soft material to cushion the contents. Kinera has also provided a cleaning brush, which is a nifty tool to remove debris and ear wax.

Last but certainly not least, we have an awesome metal bookmark of the Plutus Beast itself. A very nice touch to bring the ancient mythology to real life!

The rest of this review was done with the stock cable and stock Celest 221 "vocal" silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



Fashioned from dermatologically-friendly resin, the housings are 3D-printed from HeyGears. Users can select between an elegant gold or sophisticated blue hand-painted faceplate, and the shells are a real looker. They are painstakingly crafted thru a process of drying, soldering, UV insulation, polishing, oil removal, and UV curing.

Despite being on the bulbous side, with a longer nozzle, comfort is surprisingly decent, with no issues wearing it for longer listening sessions. MMCX connectors tend to have a shorter shelf-life than 2-pin ones, and I'm glad that the Plutus Beast supports the latter termination.



Being a vented IEM, isolation is nothing to write home about. Sadly, I encountered slight driver flex on my set, but this is partially dependent on ear anatomy and type of tips used, so YMMV.


DRIVABILITY

I tested the Plutus Beast with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even from weaker sources, and amplification is not 100% essential.

However, take note that due to its 8 Ω impedance, the Plutus Beast pairs best with sources with a 1 ohm or less output impedance, due to the rule of 8ths. Pairing it with a high output impedance source will skew the sound signature, making it very boomy and bloated in the lower frequencies.


INTERNALS

The Plutus Beast sports a unique driver setup:

• 1 x 10 mm bone conduction driver handles the low-end.
• 1 x balanced armature driver takes care of the treble. No info is provided on the BA brand/type.
• 1 x 10 mm square planar driver is a full-range driver, covering the entire frequency spectrum from 20 Hz to 20 kHz.

These are arranged in a multi-magnet array, which is touted to improved magnetic flux for driving the voice coil.


SOUND & TECHNICALITIES


Graph of the Kinera Plutus Beast via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Plutus Beast has an L-shaped bassy profile, which is very "fun" sounding. It literally makes listeners just want to shake their heads and let their hair down.

This IEM hits near basshead quantities, with a huge visceral rumble that rattles down to the chest noted on bass heavy tracks. The graph above just shows a modest bass shelf, but the bone conduction tech inside can't be fully gleaned on graphs - BC drivers need to be touching the ears/skull bones to transmit resonances - and the bass here is actually more marked than graphed.

In terms of quality, texturing is average, though bass speed is acceptable for such copious bass amounts. We can't get away from some degree of mid-bass bleed in view of the prodigious bass, but the bass is generally well-controlled for the amounts it pumps out.

The lower mids are a tinge recessed, but this area is lush due to the huge bass washout. Upper mids hit a 9 dB ear gain -at louder volumes (Fletcher Munson curve), this region may be slightly fatiguing on some tracks, but if used at low to moderate volumes, it is just at the border of shoutiness versus forwardness.

The Plutus Beast is a safe IEM for the treble-sensitive. It is relatively sibilant free, with an early roll-off in the upper frequencies. This translates to a smooth treble, though there is some loss of resolution. Trebleheads may want to look elsewhere, but fans of a darkish signature should be quite at home.

Timbre-wise, the Plutus Beast has a slight metallic overtone for acoustic instruments, which is probably from the BA and square planar driver. It is not the worst offender in this department, but timbral-freaks may want to keep their expectations in check, and it certainly cannot be compared to DD type timbre.

In the area of technicalities, the Plutus Beast is more down-to-earth instead of a celestial champion. Resolution and micro-detailing are average, partially a function of the nerfed treble, and imaging is just serviceable. Soundstage is above average in all dimensions at least, though instrument separation is a bit muddy.

Overall, this set has an unusual signature. Verily, it is a breath of fresh air amongst the usual Harmanish sidegrades, in furnishing a grand-sounding bass heavy signature, which complements genres like OSTs and bass heavy ones like EDM and hip-hop. But for purists who do not want a big bass, they may find the tuning not to be their cup of tea. Certain genres like classical and acoustic music may not jive well with this L-shaped profile.


COMPARISONS

Comparisons were made with other IEMs that contain a microplanar hybrid setup. Single DD, pure BA, conventional hybrids and true planar IEMs were excluded as the different driver configs have their own inherent pros and cons.




Celest Phoenix Call

The Phoenix Call from Kinera's sister company sports a DD + 2 BAs + flat planar driver. It is tuned to a more aggressive V-shape, with greater treble extension, though with sibilance present, and may not be a kindred spirit for treble-sensitive folk.

The Phoenix Call is more expensive, and has improved technicalities, with a more expansive soundstage, better micro-detailing, imaging and instrument separation.

The Phoenix Call has a thinner note weight and a more metallic timbre though, and is slightly harder to drive.

TRI I3
The TRI I3 is a 1 DD + 1 BA + 1 microplanar IEM, with huge sumo-sized shells that make it a more uncomfortable proposition. It also has MMCX connectors, and on one side of my TRI I3, the MMCX is a bit loose (curse of the MMCX!).

The massive shells give the TRI I3 a massive soundstage, which dwarves the Plutus Beast's. The I3 is also slightly better in technicalities. However, the I3 has more sibilance and splashiness in the lower treble, with worse timbre. The I3 is notably harder to drive.


CONCLUSIONS



Kinera has tread off the beaten path with an uncommon L-shaped visceral bassy signature in the Plutus Beast. It is truly laudable to go for a different direction, with most other manufacturers pursuing a "safe" tried-and-tested Harmanish formula.

Did Kinera succeed in this ambitious project? Yes, I would say the Plutus Beast is a unique IEM, bringing head-bopping fun to the table, with a bombastic bass coupled with a darkish treble. For genres that the Plutus Beast suits, it shines energetically, with OSTs sounding very pompous, and bass-focused tracks like EDM and hip-hop synergizing perfectly. Think of a gargantuan behemoth descending from the heavens - like its namesake - and slamming into the earth with its oversized Godzilla-like claws.

For purists - or for certain music genres that demand a less intrusive bass - the Plutus Beast is arguably not the best choice, but some other commendable points are the nice packaging, beautiful shells, decent ergonomics and easy drivability.

Some areas that could be improved are as such - the Plutus Beast has a low impedance, and it may be fastidious with sources with higher output impedance, and micro-detailing and instrument separation are bang average. There are also instances of a peaky upper midrange, especially at louder volumes.

From their track record, Kinera is not a brand to crowbar copycat Harmanish sidegrades and follow preexisting trends, and always dares to try something contrasting. The Plutus Beast is an avant-garde brainchild of this exotic tuning philosophy, and for our adventurous friends who love a grandiose bass and a boisterous soundscape - and want something dissimilar to the boring Harman specimens - the Plutus Beast is an animal waiting to be unleashed.

DISCLAIMER

I would like to thank Tronsmart for providing this review unit.
It can be gotten here: https://www.tronsmart.com/products/t7-lite-portable-outdoor-speaker or https://www.amazon.com/dp/B0C1MWCQ3Q (no affiliate links).





SPECIFICATIONS



Tested at $39.99 USD


ACCESSORIES

Accessories are quite spartan. In addition to the speakers, only a Type-C cable and lanyard are provided.




BUILD/UTILITY



The Tronsmart T7 Lite has a cylindrical chassis. The housing is fashioned from plastic, with the majority covered by a mesh-like material.

Weighing in at 470g, is is very portable, and users can easily bring it for office meetings, lectures and even for parties. There's an attached lanyard so it can be hung from bags or bikes.

This speaker can be used standing upright, or lying on its side. Interestingly, Tronsmart has added some rubberized feet on the sides of the fuselage, so as to prevent the T7 Lite from rolling around.




The side has buttons which correspond to the following:

1. Power on/Power off and charging indicator
2. Bluetooth button
3. Volume +/Next Track
4. Play/Pause button
5. Volume -/Previous Track
6. SoundPulse EQ button
7. SD card slot
8. Type-C charging port

The buttons work as advertised:


Pressing the Bluetooth button for 8 seconds does a factory reset. The T7 Lite will automatically shut down after 30 minutes if not paired with any other Bluetooth device. It also has an automatic protection function to shut itself down when the battery hits critically low levels.

Sadly, the T7 Lite has no aux in, and can only be fed music via bluetooth or via the SD card slot. It is charged via a Type-C cable, with no support for wireless charging.

Tronsmart advertises an IPX7 waterproofing for this speaker, which theoretically means it can survive submersion of 1 meter of water for 30 minutes! I don't dare put this to the test, but I've brought this speaker out in the rain and so far there have been no issues.



Tronsmart has a rubberized waterproof bung to cover the SD card and charging slots.


FUNCTION/CONNECTIVITY

I tested the T7 Lite with multiple bluetooth devices (both android and apple based, laptops/PCs and DAPs); this speaker was easily recognized and connected to them without much fuss. One area which may be a deal-breaker - the T7 Lite only supports SBC codec; higher-end codecs like AAC, aptX, aptX HD and LDAC are unfortunately not supported.

The T7 Lite by default has flashing LED lights, which one can cycle through. Battery life is shortened with the LED on, so turning them off is also possible, but the lights definitely liven up parties for head-bopping fun.



Boasting of Blutetooth 5.3, wireless connectivity is top-notch. The effective Bluetooth range is around 15 meters with no obstructions, or about 10 meters or so with obstructions. There was some stuttering encountered with thick walls, though with nil drop outs. I didn’t detect much latency too.

Battery life is another feather on the cap on the T7 Lite. It can hit about 24 hours on a full charge, at 50% volume, but this is with the LED lights turned off. The type of files played on the SD card may also slightly impact on battery life. Bear in mind though, that battery life is expected to go down with repeated charge cycles. Sadly, the T7 Lite takes about 4 - 4.5 hours to achieve a full charge, which is a bit on the longer side.

This speaker supports various voice assistants such as Siri, Cortana and Google. Like other Tronsmart speakers, it has a True Wireless Stereo Pairing option to allow one to pair with another T7 Lite for a "surround sound" effect. It can also support a dual connection mode where 2 devices can be simultaneously paired to the T7 Lite.

I am also quite chuffed that the T7 Lite is supported by Tronsmart's free app for Android and Apple devices. The app allows one to access battery life, volume levels, playback, update firmware and even control voice prompts, LED modes and some music presets.


TECHNICAL ASPECTS

The T7 Lite contains 2 full-range drivers with 3 passive radiators. In stock form, it sports a very neutral profile, that is clear and non-coloured.

Mid-bass is neutral on this default setting, with a sub-bass roll-off. We hear no deep rumble, even with the speaker placed on reverberating surfaces. Basssheads will probably wince at the quantity, but the T7 Lite makes up for it with a very textured bass, which is nimble without any bleed.

The midrange is clear and transparent in view of no big bass encroachment, and instrument layering is allowed to shine. Upper mids are forwards, so vocals are very intelligible. Treble has good extension with minimal sibilance. Timbre is very natural.

The Tronsmart app provides 5 other presets other than the default stock neutral tuning:
1) Soundpulse - there's a boost in the upper mids and lower treble, providing greater micro-details and clarity. Vocals are much more forward and this may be a suitable setting for meetings and podcasts.

2) Deep bass - this provides a slight bump in the bass frequencies, but do note even with this toggled, it is not exactly basshead to my ears. It might be a useful setting for bass forward genres eg EDM, hip hop.

3) Classical - this sharpens imaging and increases soundstage. Perhaps an option for analysis of music.

4) Rock - this mode provides a boosted upper midrange with depressed lower mids. I found this mode to be a tinge harsh and sibilant at times, but this also depends on one's treble sensitivities. Probably my least used of the various pre-set EQ settings.

5) Customize - this allows 5 EQ presets. It does not allow very fine control of the entire frequency range, but it is better than nothing I suppose.

The T7 Lite can get to a max 90 dB loudness, and would be a suitable speaker for a small enclosed room. For outdoor usage, admittedly, it might not pack as much punch as some larger speakers, but it is still quite usable if the T7 Lite is placed a few meters away from the user.


CONCLUSIONS



The T7 Lite is a portable and compact speaker, with IPX7 waterproofing, excellent battery life and top-notch Bluetooth connectivity. I like that it is compatible with Tronsmart's app to unlock additional features such as the 6 sound presets, and even in stock form, this speaker is very neutral and uncoloured.

Granted, bassheads may find the bass amounts wanting, but the T7 Lite's bass quality is very well-done. Sadly, there is no aux in option, and only SBC codec is supported. However, by and large, the other plus points above make up for these deficiencies, and for a sub $40 USD speaker, the T7 Lite is quite an affordable and mobile speaker for myriad case usages.

DISCLAIMER

I would like to thank NiceHCK for providing the F1 Pro.
It can be gotten here: https://www.aliexpress.us/item/1005006228604236.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 14.2 mm planar driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 28 kHz
• Sensitivity: 104 dB/mW
• Cable: 2-pin, 0.78 mm cable; OCC and silver-plated cable; 3.5 mm or 4.4 mm termination
• Tested at $99 - 104 USD, depending on cable choice

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of soft narrow-bore silicone eartips
- 3 pairs of firm narrow-bore silicone eartips
- 5 pairs of wide-bore silicone eartips
- Cable
- Carrying case
- Cable tie

Truly, this is quite generous fare for a $100ish IEM; I've definitely seen pricier products with stingier accessories.




While no foam tips are included, we have 3 variants of silicone eartips. The narrow-bore ones boost bass (at the expense of soundstaging), and one set has a softer feel compared to the other. The wide-bore tips enlarge soundstage and increase treble air. Do explore around to see what suits your needs.




Included is an OCC and silver-plated stock cable. This comes in a 2-pin configuration (which is generally more robust than MMCX). It is very well-braided, with a chin cinch. There's just a slight smattering of microphonics, and it is quite tangle-free. During ordering, one can opt for a 3.5 mm or 4.4 mm termination.




Last but not least, we have a leatherette zipper case. The insides are lined with a soft material and webbing.

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


BUILD/COMFORT



The F1 Pro comes in a blue aluminum alloy shade, fashioned from 5-axis CNC machining. It is built like a tank, and I've no complaints regarding the external chassis.

Despite the shells lying on the larger side, I found their ergonomics to be quite agreeable, with no discomfort on using the F1 Pro for longer listening sessions.



This is a vented IEM, and isolation is bang average. Driver flex is absent, which is a sign of a well-designed acoustic chamber.




DRIVABILITY

I tested the F1 Pro with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even from weak sources, and amplification is not 100% compulsory.


INTERNALS

The F1 Pro's engine is a 14.2 mm planar driver, with a 2 um ultra-thin diaphragm paired with N55 neodymium magnets.




SOUND & TECHNICALITIES

Graph of the F1 Pro via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the F1 Pro boasts of a V-shaped profile, which is pretty all-rounded for most consumer preferences.

When a good eartip seal is achieved, the F1 Pro sounds like a sub-bass focused IEM, with a throaty visceral rumble heard on sub-bass predominant tracks. Bass quality is more than decent - we hear a nimble bassline with no mid-bass bleeding. Texturing is also well-rendered.

The lower midrange is recessed, and this IEM is perhaps not for midrange lovers. Thankfully, the lack of a big bass encroachment leaves this area relatively transparent. With a 7 dB ear gain, the upper mids are forwards without pushing into overtly shoutfest territory.

The F1 Pro has a boost in the lower treble region, and it has moderate treble extension in the upper treble. There are instance of sibilance, though splashiness of cymbals and highhats are minimal.

Timbral accuracy is a bone of contention for most planar IEMs. And as expected, the F1 Pro is not as natural here as say compared to single DDs timbre. Acoustic instruments have a sense of weightlessness and overly rapid transients, but it is not the worst offender in this department - we will go into comparisons below and there are some competitor planars which fare much worse here.

Technicalities are certainly good on this IEM. We have very fair micro-detailing and accurate imaging, with spacious instrument separation. Soundstage is quite deep and tall, with above average width.


COMPARISONS



Comparisons were made with other $100ish USD planars. Pure BA, hybrids and single DDs were left out of the comparisons as the different driver types have their pros and cons.


NiceHCK F1 (original)


Graphs of the NiceHCK F1 (original) via IEC711 coupler. 8 kHz is a coupler peak.

The original F1 was an interesting planar with 3 tuning nozzles, to vary the sonics along a spectrum from bassier fare to a neutral bright specimen. Thus, it is more versatile than most other planar IEMs competitors.

With the silver (balanced) nozzle installed on the original F1, it is tamer in the upper frequencies compared to the F1 Pro.

The F1 Pro is not really a "Pro" version in the sense of tunability/versatility, but it certainly is an upgrade when it comes to technicalities. The original F1 has weaker technical chops, losing in soundstage, micro-detailing, imaging and instrument separation.


Letshuoer S12 Pro

The S12 Pro is also a V-shaped planar. It is thinner sounding, and is more fatiguing in the upper frequencies, with more marked sibilance.

The S12 Pro has an obvious metallic timbre, and doesn't sound as natural. In terms of technicalities, the S12 Pro has inferior soundstaging and imaging, but it has a bit more clarity and micro-detailing, which is partially a function of its brighter treble.


Kefine Klanar

The Klanar is another V-shaped set. It has a less tight bass, with worse texturing. The Klanar has a more zealous upper midrange, and vocals are somewhat shoutier here compared to the F1 Pro.

Timbre is a bit less natural on the Klanar. In terms of technicalities, they are quite close - perhaps the Klanar is just a hair worse in imaging and soundstaging, with similar levels of resolution on both.


CONCLUSIONS

2022 was the start of the planar craze, and 2023 was the year that planar IEMs became mainstream and accessible; indeed, we now routinely see sub-$100 planar releases (and I don't mean the pseudo square planar tech, but true legit planar IEMs). The technology is still evolving, and in my assessment, the F1 Pro is an incremental improvement over some of the current $100ish range planar gear.

The F1 Pro's packaging is quite generous, and it is easily driven, coupled with decent ergonomics and robust build. Sound-wise, the F1 Pro is no slouch, presenting a consumer-friendly V-shaped signature, that should pair well with the majority of music genres. Technicalities are also quite accomplished on this set, with imaging and instrument separation a highlight.

The F1 Pro sadly, does not have the versatility of its predecessor, as there are no tuning nozzles here. But it does beat the original F1 handily when it comes to technicalities, and is thus partially deserving of the "Pro" moniker.

For the treble-sensitive, the F1 Pro is admittedly a bit sibilant, with a slight planar sheen heard, but it certainly isn't the worst offender in these areas, say compared to current benchmarks like the S12 Pro.

The planar market is getting more saturated and competitive, and if one wants to dabble in the pond for their first $100ish planar IEM, the F1 Pro is not perfect, but is certainly not a bad set to consider.

DISCLAIMER

I would like to thank CCA for providing the Rhapsody.
It can be gotten here: https://www.kztws.com/products/cca-rhapsody (no affiliate links).





SPECIFICATIONS

• Driver configuration: 4 x 31736 balanced armature drivers, 2 x 8 mm dynamic drivers
• Impedance: 15 - 20 Ω (depending on switch configuration)
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 102 dB
• Cable: 2-pin, 0.75 mm cable; 3.5 mm termination; silver-plated cable
• Tested at $50.99 USD for mic version; $49.99 USD for non-mic version

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of KZ "starline" silicone eartips (S/M/L)
- Cable
- Card pin

For a $50ish USD IEM, the accessories - or rather lack thereof - are disappointing. We have only one set of silicone tips, with no foam tips, nor even a carrying case or carrying pouch. I've surely seen cheaper IEMs with a better accessory spread.




KZ's classic "starline" eartips are included here, and they are serviceable from a fit and sonic perspective.




The stock silver-plated cable is not great haptically - it is very tangly and thin, with no chin cinch, and with microphonics in abundance. It is thankfully a 2-pin connector, which is usually more robust than MMCX at the budget segment. However, take note that this has a 0.75 mm terminal instead of the more common 0.78 mm one.




Don't lose the card pin, which is essential for flipping the tuning switches!

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


BUILD/COMFORT



Fashioned from 3D-printed metal, the housings feature a mirror-like faceplate. While it does look quite elegant, this may be a fingerprint or scratch magnet. The inner aspect is made of plastic resin, allowing one to visualize the internals.




The Rhapsody has a large circular mesh on the housing, which confers a semi-open back design. As such, isolation is bang average. However, this aids in acoustic flow, with no driver flex noted on my pair.

While the shells are light, they are huge in dimensions. Thus, those with smaller ears might have fitting or comfort issues. YMMV.


INTERNALS/TUNING SWITCHES

The Rhapsody sports a 6 driver setup:
- Two x 8 mm dynamic drivers - one for the sub-bass, and one for the midrange.
- Four x 31736 BAs handle the treble and upper treble.



2023 has been the year of the tuning switch craze, and it is no surprise that this concept is incorporated here. We have 4 tuning switches, to give a total of 16 tuning permutations:

Graphs of the CCA Rhapsody via IEC711 coupler.

As per the above graphs, the switches confer an 8 dB or so difference in bass to the lower mids, which does vary the sonics (ie this is not a total gimmick).

Thus, the Rhapsody can be converted from a Harmanish tone to a more sub-bass predominant profile. The former is crisper and leaner, and not so boomy in the bass, with better treble extension; whereas the latter is warmer, and slower in the bass, but with much thicker note weight.

Do explore with the various switch permutations to see what suits your requirements. Thankfully, the switches are easily manipulated with the card pin, and are not as microscopic as the KZ AS24's!


DRIVABILITY

I tested the Rhapsody with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The impedance does vary between the different switch settings, but overall, the Rhapsody is moderately easy to drive. While weak sources can drive the Rhapsody acceptably, it might benefit a bit from amplification in terms of scalability.


SOUND & TECHNICALITIES

The following sonic impressions are done with the least bassy configuration - DDDU - which provides a Harmanish sound.

On this setup, the Rhapsody is less bassy than the other profiles. There is a mid-bass focused soundscape, with a slight sub-bass roll-off. Bass quality is sadly not up-to-mark. We hear a bassline on the slower side, with some mid-bass bleed, in addition to a one-noted textureless bass. On complex or rapid bass tracks - for example Sting's Englishman In New York - the bass is noticeably slower than the treble, thus contributing to some incoherency.

The lower mids are depressed, but with the big bass bleeding into this region, it adds warmth and heft, rounding notes and blunting note definition. The upper midrange has a 9 dB ear gain, which pushes vocals forwards without overt shoutiness (at moderate volumes).

The lower treble continues on from this boosted upper mids, and sibilance is minimal. The upper treble rolls-off early thereafter, and the Rhapsody is not a very airy set. Trebleheads will find the resolution and treble extension wanting, but conversely, this is a suitable IEM for the treble-sensitive among stus.

Timbre is very decent for a BA containing hybrid - this is one area where many budget hybrids fail at. No complains for acoustic instrumentation playback.

With regard to technicalities, the Rhapsody is sub-par. It isn't too detailed or resolving, and instrument separation and layering is messy, which is more apparent when complex tracks with competing riffs come out to play. Soundstage is thankfully above average, though imaging is fuzzy when compared against other competitor budget hybrids.


COMPARISONS

Comparisons were made with other sub-$100 USD hybrids. Pure BA, pure DDs and planars were left out of the comparisons as the different driver types have their pros and cons.



CVJ Mei

The Mei has only 4 tuning options via 2 tuning switches, but it has greater versatility in sonics compared to the 16 variations on the Rhapsody that just has a 8 dB lower mids/bass difference.

Graph of the CVJ Mei via IEC711 coupler. 8 kHz is a coupler peak.

It can be converted from a neutral bright set to an L-shaped bassy beast.

On the most resolving setup (both switches toggled up), the Mei is neutral bright, which has less bass and a greater treble extension/sparkle. The Mei's bass is tighter and faster, though it is more fatiguing and sibilant in the upper end.

The Mei has a more marked metallic timbre, but superior technicalities, besting the Rhapsody in imaging, soundstage, micro-detailing and instrument separation.


Truthear HEXA

The HEXA is tuned neutral with a sub-bass boost. It has much less bass than the Rhapsody, but the bass is cleaner and more textured. Additionally, the HEXA has more treble extension and a thinner note weight. The Rhapsody is thus more "fun-sounding", whereas the HEXA is more sterile/analytical in signature.

The HEXA has a slightly less natural timbre, but is superior to the Rhapsody in technicalities such as imaging, micro-detailing and instrument separation. Soundstage is about equal.

The HEXA is slightly harder to drive, though it has no tuning switches.


CONCLUSIONS



The Rhapsody is a smooth and non-fatiguing hybrid, with good versatility - it can be switched literally from a Harmanish tone to a more bass-laden signature. I appreciate that the Rhapsody has solid timbre for a BA-containing hybrid - something that cannot be said of most budget hybrids - coupled with a musical laid-back trademark.

There are some flaws though. There is a dearth of accessories, and it may be uncomfortable, what with the sumo-sized shells. Compared to other budget hybrids, technicalities are also lacking, with a slow and ponderous bass that doesn't fare well for complex bass tracks.

This set is also not for trebleheads due to a rolled-off treble with some deficiencies in resolution. On the flip-side - no pun intended - the Rhapsody is creamy smooth and will be a kindred spirit for our treble-sensitive brethren.

In a nutshell, I have mixed feelings about the Rhapsody. It is certainly a chill and relaxing hybrid, well-suited for long listening sessions, with an agreeable timbre, but if you are a technical junkie or value technicalities, it might be better to look elsewhere.

DISCLAIMER

I would like to thank Oriveti for providing the OD100.
It can be gotten here: https://www.oriveti.com/product-page/oriveti-od100-single-dynamic-driver-hifi-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 9.2mm DLC dynamic driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 105 dB/mW
• Cable: 2-pin, 0.78 mm cable; 3.5 mm termination
• Tested at $69.90

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of foam eartips (S/M/L)
- Cable
- Carrying case

For a sub-$100 USD set, the accessories are pretty premium, can't complain much about this aspect.




3 variants of tips are included.

Firstly, we have the foam tips, which increase isolation, though they may tame treble sparkle. We next have 2 types of silicone tips - the narrow-bore ones boost bass though with some compression of soundstage; the wide-bore ones increase treble and air.

Do tip-roll to see what suits your preferences.




There's no info on the stock cable material, but this cable is pretty well-braided with minimal tangling. Microphonics are also negligible, and there's a chin cinch for added grip. I appreciate that it comes in a 2-pin termination, which is generally less prone to failure than MMCX.




Lastly, we have an elegant semi-rigid ovoid carrying case. It is quite resistant to compression, with a velvety interior to cushion the contents. There is webbing internally to to store some accessories too.

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


BUILD/COMFORT



The OD100 is fashioned from CNC-milled metal, and comes in a bullet-shaped design analogous to the Tin T2 series. It is literally build like a tank, and is extremely solid.

Ergonomics are meticulously designed, with no awkward protrusions to poke the ears, coupled with a light chassis. Additionally, this IEM can be worn cable-down or over-ears, which increases fit permutations.



Isolation is bang average, as a result of venting, though thankfully, I did not find any driver flex (which is once again a sign of a well-designed acoustic chamber).


DRIVABILITY

I tested the OD100 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven from weak sources, though it may scale with amplification (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES


Graph of the Oriveti OD100 via IEC711 coupler. 8 kHz is a coupler peak.

The OD100 can be described tonally as having a "fun-sounding" bright U-shaped profile.

The mid-bass is the predominant frequency band amongst the bass, with a visceral thump heard on bass heavy tracks. There is just a tinge of sub-bass extension, and it isn't the most rumbly set. Bass is however, clean and relatively fast, with just a hair of mid-bass bleed. Sadly, texturing is average - on very complex bass tracks, the OD100 may come across as one-noted on occasion.

The lower midrange is a tinge recessed, though not overly so. This region is quite transparent without bass encroachment. Unfortunately, the upper mids are an area of contention, with a 14 dB ear gain. As such, vocals may sound slightly shouty, especially at louder volumes (Fletcher Munson curve). This area can be mitigated somewhat with source and eartip pairing, in addition to perhaps using the OD100 at lower volumes.

The lower treble continues on from the augmented upper mids, peaking at 5 kHz. This area is quite clear with decent resolution, though with some smattering of sibilance. Treble extension and sparkle is quite moderate, with high hats and cymbals not overly splashy.

In keeping with its single DD roots, timbre is quite natural for acoustic instruments, though vocals are a bit nasal due to the boosted upper mids.

Technically, the OD100 is probably above average when compared against other sub-$100 USD single DDs. Soundstage is above average in all 3 dimensions, furnishing a spacious soundscape. Instrument separation is quite well rendered, with adequate micro-detailing. Imaging is a tinge fuzzy though, and is not exactly pinpoint.


COMPARISONS

Comparisons were made with other sub-$100 USD single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Simgot EA500

The EA500 has 2 tuning nozzles to provide more versatility - it can be tuned between a neutral bright lilt on the black nozzle, or a warmer Harmanish tone on the red one.

The EA500 has a more natural timbre, and has improved soundstage, imaging and micro-detailing. It is however, brighter than the OD100 in the treble, and the EA500 may display sibilance and fatigue for longer sessions.


Moondrop Aria 2

The Aria 2 follows the virtual diffuse sound field (VDSF) signature - which is essentially Moondrop's in-house variant of the Harman curve.

The Aria 2 is not as bassy, with a less pronounced upper midrange. The Aria 2 has a smaller soundstage, and a hair less precise imaging, with similar instrument separation.


DUNU KIMA Classic

The Kima Classic is a V-shaped IEM, with more bass than the OD100. It isn't as extended in the treble as the OD100 however.

The Kima Classic has a less natural timbre. In technicalities, it fares worse than the OD100, with inferior instrument separation, imaging and soundstage.


CONCLUSIONS



The Oriveti OD100 is a decent entrant to the cut-throat sub-$100 single DD ocean. It imparts a "fun-sounding" signature for head-bopping listening sessions. Additionally, this set brings excellent accessories, solid build and comfortable ergonomics to the table, and is also easily driven.

Timbre is quite organic, with above average technicalities and a spacious and transparent soundscape. The OD100 also scores a bonus point in the area of fit - it can be worn cable-down or over-ears, which makes fitting a breeze!

There are some areas that need brushing up though. Firstly, we have an overly-zealous 14 dB ear gain, which can cause shoutiness. Bassheads may bemoan the lack of texturing and sub-bass roll-off, and imaging is not pinpoint per se. Some sibilance is present, though there are worse offenders for sibilance when other rival single DDs are compared.

In the big scheme of things, the OD100 would probably be considered as an average budget single DD, and it does more things right than wrong. It might be forgotten in a few weeks' time, such is the competitiveness of the current budget CHIFI scene.

DISCLAIMER

I purchased the EPZ 530 at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.com/item/1005004100928567.html (no affiliate links).

SPECIFICATIONS

• Driver configuration: 5 x balanced armature drivers - dual Sonion 38AM007 for the bass, 1 x Sonion 2389 for the midrange, Shengyang ED05 BA + E50DT BA for the treble
• Impedance: 32 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 115 dB
• Cable: 2-pin, 0.78 mm; 16-core gold, silver and palladium alloy cable; 2.5 mm, 3.5 mm and 4.4 mm modular termination
• Tested at $386 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Modular terminal plugs for 3.5 mm, 2.5 mm and 4.4 mm sources
- Semi-rigid carrying case
- Large wooden case
- Cleaning brush



The packaging is downright luxurious, and is well-befitting of something retailing at the midFI region. The 530 comes in a massive wooden box, which adds a whiff of elegance. I've definitely seen pricier sets with stingier accessories, and other than the lack of foam tips, everything else that an audiophile needs is included.




We have wide-bore and narrow-bore eartips provided - the former boost treble and stage, whereas the latter increase bass, though with some compression in soundstage. Do explore to see what suits your needs.




EPZ has provided a 16-core gold, silver and palladium alloy cable. This cable terminates in a 2-pin connector (which is my preferred connector type compared to MMCX), and it is well-braided with minimal microphonics. There is a chin cinch for added grip.

The cable's selling point are the 2.5 mm, 3.5 mm and 4.4 mm modular plugs, which promises greater source synergy, for various single-ended and balanced sources.




Last but note least, we have a cleaning brush and a leatherette semi-rigid case. The case is tough externally, with the innards containing webbing and a soft material to cushion the contents.

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


BUILD/COMFORT



The 530's wooden shells are milled from 5-axis CNC carving. Not many IEMs utilize wood as a shell material, and this aids in the tuning/resonance, in addition to adding allure to the aesthetics. During ordering, one can opt between an exotic mamba green or lava orange hue, and both are lookers in their own right.

The housings are akin to semi-customs, and are light with excellent ergonomics. Fit is snug with an added concha protrusion, and I found no discomfort despite longer sessions.




Each shell has an emblazoned serial number, and we can see a well-designed acoustic tube in the nozzles, unlike some CHIFI which just dump an undampened BA in the nozzle and hope for the best.





Being an unvented IEM, passive isolation is top-notch, and EPZ advertises that it can hit 26 dB. On my field tests, it is thereabouts, and that allows the EPZ 530 to be used in noisy places or even for stage monitoring.


INTERNALS

This is a 5 BA setup:
- 2 x Sonion 38AM007 handles the bass
- 1 x Sonion 2389 takes care of the midrange
- The treble is settled by a Shengyang ED05 BA + E50DT BA.

It is uncommon to find Sonions nestled in $300ish IEMs, so kudos to EPZ for using such prized ingredients at this price-point. Of course, tuning and implementation trump driver brand/type/count, so let's read on to check out how the EPZ 530 fares sonically.


DRIVABILITY

I tested the EPZ 530 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven even off weaker sources, with amplification not truly required.


SOUND & TECHNICALITIES

Graph of the EPZ 530 via IEC711 coupler. 7 - 8 kHz is a coupler artefact peak.

Tonally, the EP530 sports a consumer friendly mild V-shaped signature, which is quite all-rounded for most music genres.

The 530 is a sub-bass focused IEM, with bass quantity just north of neutral. There is a lack of rumble like most pure unvented BA IEMs, and the decay moves less air than a traditional DD bass. However, the bass here is of exquisite quality, being very textured, tight and fast, with not an ounce of mid-bass bleed.

There is just a slight lower midrange recession. This frequency band is very transparent due to the tuning (ie no big bass encroachment). With the 530's superb layering and imaging, it is very easy to pick out instruments and vocals on a dark background in the midrange. With a 6 dB ear gain, the upper mids are forwards without being shouty, which is much appreciated.

The 530 is bright in the treble, make no bones about it. It is sparkly in the higher frequencies, bringing great clarity and resolution to the table. Sibilance is mild, though the tuning may be fatiguing for our treble-sensitive folk, especially at higher volumes (Fletcher Munson curve). However, trebleheads will love this region, so YMMV. Nevertheless, the treble may be adjusted with eartip choice, source pairing, or playing at lower volumes.

The EPZ 530 is a technical beast, with a holographic soundstage and excellent micro-details; one can pick up minute nuances in the music, and technical junkies and analytical heads will find a kindred spirit. Imaging is pinpoint and instrument separation is very spacious. It is probably one of the most resolving midFI IEMs, and can give some pricier contenders a run for money in technicalities.

Indeed, with the great ergonomics and isolation, and coupled with the stellar technicalities, the EPZ530 may be an option for audio work or stage monitoring.



Being a pure BA IEM, there is no running away from BA timbre, though it is not the worst offender in this department; I've definitely heard other pure BA sets which do much worse here. As mentioned above, there is some BA bass heard with regards to bass decay, and perhaps using a vented BA would have helped here (though of course this is asking for the moon considering the price of the 530).


COMPARISONS

Comparisons were made with other pure BA IEMs. Single DDs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Tangzu Nezha

The Nezha - Tangzu's erstwhile flagship - contains 7 BAs: 2 x Sonion BAs, 4 x custom BAs, and 1 x EST (the EST is an electret/magnetostat). It sports a warm U-shaped tuning, and is much thicker in note weight, with a darker treble, compared to the 530.

While treble-sensitive folk may be more comfortable with the Nezha, it is however, quite veiled and muddy in sonics, and is a league or two behind the 530, losing in soundstage, micro-detailing, imaging and instrument separation. The Nezha's timbre is a bit more natural though.


Audiosense T800

The T800 is an 8 Knowles BA IEM. Likewise, the T800 has solid isolation, almost hitting 30 dB in this region, though it is a bit more uncomfortable to wear.

The T800 is more V-shaped, and is brighter in the treble/upper mids, resulting in a more fatiguing and sibilant soundscape. The T800 has a vented subwoofer bass, so it actually sounds very close to a DD bass in terms of bass decay and movement of air.

Both sets are technical champs, and provide excellent soundstage, micro-detailing and imaging.


Hiby Crystal6 II

The Crystal6 II is a neutral bright 6 Sonion BA set. It has less sub-bass, but markedly more treble and upper mids. As such, the Crystal6 II is very fatiguing and sibilant, and is even more harsh than the 530 in the upper frequencies.

The Crystal6 II has poor isolation, and has bad BA timbre, with an unnatural BA bass heard. The Crystal6 II is quite proficient in technicalities, but still lags behind the 530 in soundstage and imaging.


Kiwi Ears Orchestra Lite

The Orchestra Lite is warm neutral. The Orchestra Lite is thicker in note weight, with a tamer upper mids/treble region, and it is smoother than the 530.

The Orchestra Lite has way weaker technicalities, and it is not even close in this department.


CONCLUSIONS

The EPZ 530 is one of the best purchases I've made in 2023. It blends beauty and brawn nicely into an elegant package (literally and figuratively!). Accessories - with the modular cable specifically - are stellar, and fit and aesthetics are second-to-none.

In addition to sporting a consumer friendly V-shaped profile, technicalities are the 530's calling card, with soundstage and imaging a highlight, allowing it to best other pure BA gear at around the same price point. The easy drivability and top-notch passive isolation are also laudable traits, and indeed, this IEM may be an option for stage monitoring and audio work.

For a pure BA setup, there is admittedly a tinge of BA timbre and some BA bass, but those are common issues that most other all-BA IEMs face, and the 530 is arguably not the biggest villain in these areas. Tonally, the 530 is a bright IEM, so our treble-sensitive brethren might want to explore with eartip rolling or source pairing or using it at lower volumes (Fletcher Munson curve), but once again, there are other pure BA competitors out there which do way worse here.

The 530 was released about 2 years ago and I am thankful to have unearthed such an underrated gem. As someone who does stage monitoring weekly, I will surely be bringing these puppies along for gigs, in addition to using it for listening sessions on the go.

DISCLAIMER

I would like to thank Linsoul for providing the Nuo.
It can be gotten here: https://www.linsoul.com/products/ziigaat-nuo (no affiliate links).

In case anyone is wondering what's up with the Ziigaat moniker, it stands for: Zero-in on Ideas, Innovate, Grow and Achieve All Together.




SPECIFICATIONS

• Driver configuration: 10 mm LCP dynamic driver
• Impedance: 32 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 107 dB/mW
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. Oxygen-free silver-plated copper
• Tested at $24 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable

The accessory inclusion is quite spartan, but I guess for $20ish bucks, one can't ask for the moon.

We do not have any foam tips included, and only one set of silicone tips are provided, which thankfully, are pretty serviceable.




The stock oxygen-free silver-plated copper is surprisingly decent. It is not too tangly, and has a chin cinch, though it lies on the thinner side. Microphonics are slight, and it has a 2-pin termination, which generally has better shelf-life than MMCX.




There is no case or pouch in the packaging.

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


BUILD/COMFORT

The housings are fashioned from semi-transparent resin, with a triangular shaped motif. The shells are very light and ergonomic, with a concha protrusion for added grip. Comfort is top-notch, and this IEM can be used for hour-long sessions without issues.



Being a vented IEM, isolation is bang average. I did not encounter any driver flex on my pair.




DRIVABILITY

I tested the Nuo with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

The Nuo is easily driven even off weaker sources, with amplification not truly required.


SOUND & TECHNICALITIES

Graph of the Ziigaat Nuo via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Nuo can be described as having a bright U-shaped signature.

This IEM is sub-bass focused, with a nice rumble heard in heavy bass tracks. However, the Nuo is not a basshead IEM per se. Bass quality is very good for the coin, we hear a fast and nimble bass, with decent texturing and no mid-bass bleed.

The lower midrange has a hair of recession, but is otherwise very transparent and clear without any mid-bass bleed encroaching into this area. With just a 5 dB ear gain, the upper mids are forwards without shoutiness, so folks sensitive to upper mids should be quite at home with the tuning.

The lower treble continues on from the upper mids boost, and this region has good resolution for an ultra-budget single DD. Thereafter the upper treble does roll-off slightly. However, treble-sensitive folk may have an issue with this set: There is some sibilance, with splashiness of high-hats and cymbals, but perhaps EQ, warmer sources or eartip rolling may mitigate this region.

Note weight lies on the thinner side, and timbre-wise, there are instances of nasal vocals and metallic overtones to acoustic instruments.

In technicalities, the Nuo is quite good, and actually belies its $20ish entrance fee. Soundstage is above average in all 3 dimensions, with nice instrument separation and layering. Micro-details are retained pretty well, and imaging, while not exactly pinpoint, is probably head-and-shoulders above other similarly priced rivals. Clarity is excellent, but this is a function of the boosted treble.


COMPARISONS

Comparisons were made with other $20ish single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Salnotes Zero 2

The Salnotes Zero 2 has a thicker note weight and is warmer than the Nuo. It has a deeper bass, with less treble extension, though the treble isn't as fatiguing and sibilant as the Nuo's.

The Zero 2 has a more natural timbre for acoustic instruments, though it lags behind in technicalities, with poorer micro-detailing, instrument separation and imaging. Soundstage is a bit wider on the Zero 2 however.

Fit is more contentious on the Zero 2, as its angular chassis may poke the ears, compared to the more ergonomic Nuo.


Tangzu Wan'er

The Wan'er is darker, with a thicker note weight. Bass bleeding is quite obvious on the Wan'er, and this region isn't as clean as on the Nuo.

Timbre is more organic on the Wan'er, though it loses in technical chops, with the Wan'er having worse imaging, soundstage and micro-detailing.


Tanchjim One

The Tanchjim One has more upper midrange (ie it is shoutier), though it has slightly less upper treble and extension.

Timbre is a tinge less natural on the Tanchjim One. It has a bit of a larger soundstage, though weaker imaging and micro-detailing compared to the Nuo.

The Tanchjim One is bullet-shaped, though it has driver flex, which may be a deal-breaker for some.


CONCLUSIONS



The Ziigaat Nuo is a decent ultra-budget single DD, boasting of solid value proposition at the cost of a mere $20ish USD. It is easily driven, with great ergonomics. Technicalities are good when A/B comparisons are performed against the usual $20 single DD benchmarks, and bass is of high quality, with a clean and transparent midrange.

There are some compromises though. The treble, while resolving and detailed, has some sibilance and fatigue, and the Nuo may not be the best bedfellow for treble-sensitive peeps as such. On the flip side, trebleheads might actually appreciate the sonics of this set, also perhaps analytical-seekers and detail-heads. However, timbre has some metallic overtones, but I can close one eye considering the Nuo costs the same as a restaurant meal.

In the big scheme of things, the Nuo does more things right than wrong, and I would recommend it for newcomers to the CHIFI rabbithole, or even as a gift or everyday carry beater set, in view of the exceptional price-to-performance ratio. Dyed-in-the-wool CHIFI addicts will probably have something higher-end in their collection, and this subset of audiophiles might be wise to keep their powder dry for a more substantial (though expensive) upgrade down the line.

DISCLAIMER

I would like to thank Letshuoer for providing the S15.
It can be gotten here: https://letshuoer.net/products/lets...ve-filtering-module-hifi-wired-in-ear-monitor (no affiliate links).




SPECIFICATIONS

• Driver configuration: 14.8 mm planar driver + 6 mm R-Sonic passive filtering module
• Impedance: 30 Ω
• Frequency response: 20 Hz - 40 kHz
• Sensitivity: 106
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper; 2.5 mm, 3.5 mm and 4.4 mm modular termination
• Tested at $329 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore "vocal" silicone eartips (S/M/L)
- 3 pairs of narrow-bore "balanced" silicone eartips (S/M/L)
- Cable
- Modular plugs for 2.5 mm, 3.5 mm and 4.4 mm termination
- Hard case

The accessories are quite decent for a midFI pair of IEMs, perhaps other than the lack of foam tips.




2 variants of silicone tips are included. The wide-bore "vocal" ones boost treble and air, and improve soundstaging, whereas the narrow-bore "balanced" ones increase bass but compress soundstage somewhat.




Letshuoer has included a silver-plated monocrystalline copper cable. This is well-braided and tangle-free, with minimal microphonics. I appreciate the presence of a chin cinch, and the selling-point is its distal modular terminals that allow users to pair the S15 with 2.5 mm, 3.5 mm and 4.4 mm sources.




Lastly, we have a round screw-on hard case, which is build like a tank. The innards are spacious and lined with a soft material to cushion the contents.



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


BUILD/COMFORT



HeyGears has utilized 3D-printed resin for the housings, with an anodized aluminum faceplate. The housings sport a greyish hue, but admittedly, look a bit childish. Nevertheless, the build is solid and light.




With no awkward protrusions on the inner aspects, the S15 is well-fitting for longer listening sessions. 2-pin IEMs are always my preferred connector-type, as I've encountered my fair share of MMCX failures with cable swapping.




Despite being vented, isolation is actually above average. Sadly, I encountered driver flex on my pair, but this is partially dependent on ear anatomy and types of eartips used.


INTERNALS

The S15 is actually not a pure planar IEM. It houses a 14.8 mm dual chamber planar driver, but also has a passive filtering module, which Letshuoer terms the "R-Sonic Dynamic Harmonic Technology." Basically, instead of a traditional passive radiator, this operates as something analogous to a reverse concept passive radiator, which adjusts ear pressure at different volumes.

For folks interested in the technical jargon, check out Letshuoer's post about it here: https://letshuoer.net/blogs/news/letshuoer-r-sonic-dynamic-harmonics

The planar driver and passive filtering module are aligned via a dual acoustic tube structure, with crossovers.


DRIVABILITY

I tested the S15 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and robust amplification is not 100% essential. It will however scale in dynamics with clean amplification.


SOUND & TECHNICALITIES

Graph of the S15 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the S15 boasts of a pleasant and warm U-shaped signature.

It is mid-bass focused, with quantity just a tinge more than neutral. The sub-bass is not the most extended, with a noticeable roll-off, resulting in no big rumble heard. The S15 makes it up in quality of the bass, with solid texturing noted, with a punchy, nimble and clean bass without any mid-bass bleed.

The lower mids are not too depressed, and this region is thick and lush, with an enveloping syrupy tone heard. The upper mids are sedate, with just a 5 dB ear gain, resulting in no shoutiness. The midrange can be described as euphonic as such.

The S15 is a set for the treble-sensitive, there is no sibilance. Indeed, this region is very smooth and fatigue-free. It is a double-edged sword though, as there is a lack of air and sparkle, so trebleheads might want more pizazz. However, resolution is still quite commendable for a signature bordering on the dark side, and the S15 keeps micro-details in check, but does not need to use the hackneyed CHIFI cheat-code of overly boosting this region for "fake clarity".

Continuing on with technicalities, the S15 has above average soundstage, and layering and imaging are a highlight - instruments are easily pinpointed on a dark background. Instrument separation is solid, with music not sounding congested in the least. As detailed above (no pun intended), micro-details are respectably portrayed, though edge definition of notes is somewhat blunted.

Generally, most planar IEMs flop at timbre - possibly a consequence of the fast transients and rapid decay of planar drivers, especially at the bass. Admirably, the S15 has the most natural timbral accuracy I've heard in my journey of around 15 planar IEMs, and the bass has decent decay, sounding close to a DD bass rather than a typical truncated planar-type bass.

The keyword to describe the S15 would be "effortless".


COMPARISONS

Comparisons were made with other planar IEMs. Pure BA, pure DDs and hybrids were left out of the comparisons as the different driver types have their pros and cons.




Letshuoer S12 Pro

The older brother S12 Pro is a more aggressive and bright V-shaped planar, with greater treble quantity and air. The midrange is more recessed, and the S12 Pro's bass isn't as tight too. For the treble sensitive, the S12 Pro's upper midrange/treble is definitely more fatiguing and sibilant.

Soundstage and imaging is better on the S15, though the S12 Pro is more defined in edge definition, and is more "in-your-face" with the music.

The S12 Pro suffers from a marked metallic timbre, whereas the S15 is exponentially more natural sounding. Note weight is thinner on the S12 Pro.


Sivga Nightingale

The Nightingale is a mid-centric planar, with way worse bass roll-off than the S15. The midrange is more forwards on the Nightingale, with greater treble quantity. The Nightingale isn't as all-rounded due to the bass roll-off, and it arguably only shines for certain genres like acoustic and vocal-focused ones, but falls flat in bassier tracks.

Note weight is much thinner on the Nightingale, and it suffers from a bad planar timbre, compared to the more organic S15. The Nightingale is also harder to drive.

In technicalities, the Nightingale has a smaller soundstage and worse imaging/instrument separation, though it has more clarity and micro-detailing, partially as a function of its brighter and thinner tuning.


Hidizs MP145

The MP145 has 3 tuning nozzles and is more versatile as such. Across all tuning nozzles, the MP145 is brighter, with more sibilance. There is more obvious mid-bass bleed on the MP145, and it isn't as textured here.

The MP145 has a tinge less natural timbre, with a thinner note weight. Technically, the MP145 has a more expansive soundstage, with better instrument separation/layering.

The MP145 also suffers from driver flex, and its shells are heavier and larger, so ergonomics are a bit less proficient.


CONCLUSIONS



The S15 is a smooth and lush-sounding planar, bringing to the cut-throat planar fray, a warm and agreeable U-shaped tone, with not a shred of fatigue or sibilance. Our treble-sensitive brethren will be very at home with the tuning, with timbre a highlight amongst the planar competitors.

Despite the warmer (and borderline darkish tuning), resolution is respectable, with imaging and layering done very well. Additionally, the S15 is easily driven, with decent accessories and comfort.

The creamy tuning does come at a cost of treble air and sparkle, so it won't be the cup of tea for trebleheads or analytical-heads. Bassheads might also find the quantity and sub-bass roll-off wanting, though the S15 cedes outright quantity for good quality bass.

In terms of externals and aesthetics, the resin shells look more like a Fisher Price toy than a sophisticated IEM, but the ergonomics are thankfully well-designed, other than some driver flex.

As per diminishing returns in this hobby, the S15's price lies on the steeper side, especially moving from cheaper planars like the MP145 and S12 Pro to this $300ish range. But that is the nature of this beast, sometimes chasing that last 10 - 20% of acoustic refinement will only yield incremental improvement, but at the expense of less value-proposition.

To sum it up, the S15 is well-suited for long chill sessions, yet without much compromise in technical tangibles like imaging, instrument separation and soundstage. Timbre is arguably the best I've heard in a planar IEM. Its warm tonal balance is very affable and enveloping - think of a musical, smooth and addictive syrupy tone, without veering too much to a veiled mushy profile - something that is quite hard to balance.

DISCLAIMER

I would like to thank Linsoul for providing the Zero 2.
It can be gotten here: https://www.linsoul.com/products/7hz-x-crinacle-zero-2 (no affiliate links).




SPECIFICATIONS

• Driver configuration: polyurethane + metal 10 mm dynamic driver
• Impedance: 32 Ω
• Frequency response: 10 Hz - 20 kHz
• Sensitivity: 108 dB/V
• Cable: 2-pin, 0.78 mm oxygen-free copper silver-plated cable; 3.5 mm termination
• Tested at $24.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable

This is a pretty bare-bones accessory line-up, but is par for the course for an ultra-budget pair.




While no foam tips are included, we have 2 types of silicone ones. The set on the left are narrower in bore size, and are stiffer to the touch. These increase bass though with some compression in staging. We have another set (on the right) that are wider-bore, which increases air and treble; these are less stiff too.




The stock cable is a 2-pin oxygen-free copper silver-plated cable. It has a chin cinch, but lies on the thinner side and is somewhat tangly, with a smattering of microphonics noted. Not the most haptic-friendly, but serviceable for an ultra-budget pair. No biggie swapping out for an aftermarket cable should you wish to do so.

No case/pouch is included, but once again, this is expected for the retail price.

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


BUILD/COMFORT



Like its predecessor, the Zero 2 has acrylic housings with metal faceplates. When placing an order, one can opt for a silver, orange or blue hued version.



While the inner aspects are smooth without protrusions, the shell itself has perpendicular edges, which may be an issue for some; this was a similar complaint of the original version. Nevertheless, the shells are light, and are not fatiguing from a weight point of view.




2-pin housings are always welcome in my book, as budget MMCX tends to be not so robust with frequent cable swaps.

Being a vented IEM, isolation is average. Nevertheless, the Zero 2 is very useable for outdoors still. I did not find any driver flex on my pair.


DRIVABILITY

I tested the Zero 2 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderate easy to drive, though amplification assists in scalability (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES

Graph of the Zero 2 via IEC711 coupler. 8 kHz is a coupler artefact peak.

Tonally, the Zero 2 can be described as having a warm neutral signature, which is pleasant and smooth.

It is sub-bass focused, with solid sub-bass reverberation and extension. Bass is north of neutral but not at true basshead levels. In terms of quality, texturing is decent, with a nimble speed and just a slight pinch of mid-bass bleed.

The lower midrange is a tinge recessed, but not overly so. This area is hefty and lush, aided by the aforementioned slight mid-bass bleed. With just a 6 dB ear gain, the upper mids are sedate without shoutiness. Vocals are forwards without being piercing, and those sensitive to shout will be very at home here.

The Zero 2's lower treble continues on from the slight upper mids hump, but thereafter the upper treble has a roll-off - as a result, there is minimal sibilance. Treble-sensitive peeps will like this tuning choice, though perhaps trebleheads might want to stick to the original Zero 2.

Timbral accuracy is excellent, acoustic instruments and vocals are very authentically portrayed; this is one of the highlights of the Zero 2.

I would class this IEM as having above average technicalities for a $20ish single DD. Soundstage and instrument separation is above average. Micro-details are decent. Imaging is very well done for the coin. While many budget CHIFI like to boost the treble to provide an illusion of resolution, the Zero 2's resolution is still laudable without needing to resort to this party trick.


COMPARISONS

Comparisons were made with other $20ish single DDs. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Salnotes Zero (Original)

Graphs of the Salnotes Zero versus Zero 2 via IEC711 coupler. 8 kHz is a coupler peak.

The original Zero uses a different driver (metal composite diaphragm), and is neutral bright, with about 3 dB less bass, but more treble extension than the Zero 2. The original Zero has a thinner note weight and a more metallic timbre. The original Zero has a cleaner bass, but displays more sibilance, and may be more fatiguing for treble-sensitive folk.

Technically, the original Zero has better micro-details and imaging, but a less expansive soundstage.

The original Zero is more analytical sounding, and is an option for critical listening and for folks who want a more neutral and resolving set. The younger sibling is more suited for those yearning for a lusher and warmer single DD, which retains decent technicalities but is more smooth and "fun" sounding.


Tangzu Wan'er


Graphs of the Salnotes Zero 2 versus Tangzu Waner via IEC711 coupler. 8 kHz is a coupler peak.

Both sets are warm neutral, though the Waner has less sub-bass. The Waner is also less clean and tight in the bass, with a more marked mid-bass bleed.

Both IEMs are solid in timbre, though the Waner is behind in technicalities, with inferior soundstaging, micro-detailing and imaging.


Tanchjim One


Graphs of the Salnotes Zero 2 versus Tanchjim One via IEC711 coupler. 8 kHz is a coupler peak.

The Tanchjim One is a bullet-shaped single DD. There is a DSP version and a non-DSP one; we will be comparing the non-DSP variant to keep it as an apples to apples comparison.

The Tanchjim One has less sub-bass, but is brighter, with a thinner note weight. Timbre is slightly more artificial on the Tanchjim One.

The Tanchjim One has a smaller soundstage, with worse instrument separation. However, it has better micro-detailing and imaging. The Tanchjim One can get hot in the lower treble for those sensitive to this area, and it also has driver flex, which may be a deal breaker for some.


CONCLUSIONS



One of the hardest things, is to release a sequel to a legendary IEM. We have seen brands like Moondrop try to twang on pangs of nostalgia by releasing a sequel to a popular original model, trying to ride on reputation but to meh results. If too much of the tuning is changed, then consumers will ask why is it called a Mark II, while if the tuning is too similar, then they will ask where is the value-add?

The Zero 2 does something different from the highly lauded original, yet still retaining some of its roots. It furnishes a warmer tone, with improved bass quantity and extension, coupled with a richer note weight. Sibilance and treble-fatigue - some of the complaints of the original - are also addressed here, with a smoother top-end. Additionally, the Zero 2 has a more organic timbre, though there is admittedly some loss of resolution.

The Zero 2 is quite easy to drive, though amplification may improve sonics, and it has good build and lovely timbre. Similar to the original, the shells may be a bit "pokey" due to the perpendicular edges, and perhaps trebleheads may need to look elsewhere.

Like the original, the Zero 2 boasts of exemplary price-to-performance ratio - it brings a different flavour to the table to differentiate itself from the predecessor. For those new to the hobby, or for ones looking for affordable everyday carries/beater sets, the Zero siblings are very suitable options, depending on your sonic preferences.

DISCLAIMER

I would like to thank Oriveti for providing the OD200.
It can be gotten here: https://www.oriveti.com/product-page/oriveti-od200-single-dynamic-driver-hifi-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 9.8 mm beryllium-coated dynamic driver
• Impedance: 16 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 108 dB/mW
• Cable: 2-pin, 0.78 mm cable; 2.5 mm, 3.5 mm and 4.4 mm modular options available
• Tested at $199 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- 3 pairs of foam eartips (S/M/L)
- Cable
- Modular distal plugs for 2.5 mm, 3.5 mm and 4.4 mm terminals
- Leather carrying case
- 2 pairs of tuning nozzles
- Cleaning brush

The accessories are a luxurious affair, definitely befitting of a midFI set. Everything required is included.

There's even a nifty little insert where the accessories are inlaid.

The foam tips provide the best isolation, though they may tame the treble and compress staging. The wide-bore silicone tips give the most treble/air, whereas the narrow-bore ones boost bass. Do explore to see what suits your needs.




Oriveti has provided an 8-core hand-braided stock cable. We do not have information on the components, but this is a 2-pin one with distal modular plugs for 2.5 mm, 3.5 mm and 4.4 mm terminals, which increases source pairing options (for balanced or single-ended sources). It is very well braided with zero microphonics. An added chin cinch for grip is present.




A leather round case is a nice addition. It is hard externally, but its innards are lined with a velvety material to cushion the contents. It operates via a button clasp and is quite spacious. We also have a cleaning brush for removing wax and debris.




Last but not least, we have the all-important tuning nozzles, which are needed to vary the frequency response. We will discuss about them in further detail below.

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


BUILD/COMFORT

The housings are teardrop shaped, and come in a refined olive green shade. They are fashioned from CNC-milled metal and built like a tank.

Shell weight is light and ergonomics are top-notch, with no discomfort on using the IEM for longer sessions. The inner aspects have no awkward surfaces, with a concha protrusion for added grip.



2-pin housings are always my preferred connector type, as MMCX may be less sturdy with frequent cable swaps.




Of note, the OD200 utilizes a unique Dedicated Airflow Distribution (DAD) concept, which diverts the airflow to influence tuning.



Tuning aside, the airflow arrangement seems properly designed in my book, with no driver flex noted. Isolation is average though, in view of the vents.


INTERNALS/TUNING NOZZLES

The OD200's engine is a 9.8 mm beryllium-coated dynamic driver.

Beryllium is a light material with a high modulus of elasticity, which in theory, allows the driver to be kept low in weight, yet with an extreme rigid core. This is marketed to furnish rapid transients with negligible distortion.


This IEM's selling point are the 2 tuning nozzles, which are no gimmick - they actually vary the soundscape:

Graphs of the OD200 via IEC711 coupler. 8 kHz is a coupler peak.

With the black nozzles installed, the OD200 furnishes a sterile neutralish bright signature, which is very resolving and crisp. Transients are quick and this set showcases great technicalities for a single DD. It can however, be shouty in the upper mids on this configuration - with a 13 dB ear gain - especially at louder volumes (Fletcher Munson curve). These black nozzles will be a great option for analytical listening.

With the silver nozzles in place, the OD200 becomes a sedate warm beast, with larger bass on tap. However, there is some resolution lost in this setup, and the mid-bass does bleed a tinge into the midrange, though this gives heft and a syrupy tone. With these silver nozzles, we get a more laid-back sound, with less fatigue in the upper mids.

Thus, the OD200 is kind of like a 2-in-1 IEM due to the tuning nozzles giving quite differing sonics.


DRIVABILITY

I tested the OD200 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is easily driven from weak sources, though it may scale with amplification (in terms of bass tightness and dynamics).


SOUND & TECHNICALITIES

The rest of this review will be done with the silver nozzle in place - ie the warmer tuning nozzle.

With the silver nozzle on, the OD200 tonally has a warm V-shaped profile.

It is mid-bass focused, with bass north of neutral. We hear a satisfying thump on bassy tracks, though it is not at basshead jaw-rattling levels. Sub-bass has a slight roll-off. Quality-wise, texturing is decent, with quite nimble bass speed noted. There is a tinge of mid-bass bleed.

This mid-bass bleed warms the lower mids, thickening the note weight when compared to the black nozzles. Nevertheless, the midrange is still relatively transparent, with the mids not overtly encroached upon. The upper mids with the silver nozzles have a 9 dB ear gain, so vocals are forwards without veering too much to shouty territory (compared to the black nozzles).

The treble tails off after the upper mids, and is relatively smooth and sibilant-free. Trebleheads might want a bit more sparkle here, but it will be a suitable option for our treble-sensitive friends. Decent resolution is still retained though, and the OD200 doesn't need to resort to the usual CHIFI trick of a steroid infused treble to give "fake clarity".

The OD200 has a very organic timbre, with lifelike vocals and acoustic instrument replay. Timbre freaks (timbre is actually one of my higher priorities) will have no complaints.

In terms of technicalities, the OD200 is definitely more resolving on the black nozzle. Even with the silver nozzle in place, the OD200 fares quite well for a single DD. Soundstage is above average, with good instrument separation. Micro-detailing is present and not forced (as alluded to in other sets). Imaging is a tinge fuzzy though.


COMPARISONS

Comparisons were made with other midFI single DDs retailing at low $200ish USD. Pure BA, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.

Once again, the following comparisons are made with the silver nozzle installed on the OD200.




Tanchjim Oxygen

The legendary Oxygen is a Harman-tuned set. It has more sub-bass, but less mid-bass than the OD200. The Oxygen is also more extended in the treble, though note weight is thinner.

Technicalities are a wash between the 2. The Oxygen is slightly better in micro-detailing and imaging, though it has poorer soundstage and instrument separation.

Of note, the Oxygen has a more contentious fit due to stubby short nozzles, whereas the OD200 is better designed in ergonomics.


DUNU Falcon Ultra

The Falcon Ultra also has 2 tuning nozzles, so it is as versatile as the OD200. One nozzle furnishes a laid back L-shaped tone versus the other giving a more traditional Harmanish fare,

In technicalities, the Falcon Ultra has better micro-detailing and imaging, but loses to the OD200 in soundstage and instrument separation.

The Falcon Ultra has hiss noted on some sources, and it may be a scratch or fingerprint magnet due to the mirror-like shells. I would consider these 2 as sidegrades.


Final Audio E5000

The E5000 is a very dark bullet-shaped single DD. It is much more bassier, with a thicker note weight. The E5000 is less extended in the treble.

The E5000 is weaker technically, with inferior soundstage, micro-detailing and instrument separation, though it has better imaging.

The E5000 is one of the hardest IEMs to drive due to its low sensitivity, and not many portable sources can juice it well, unlike the more source agnostic OD200.


CONCLUSIONS

The OD200 is a nice addition to the midFI single DD pool. Versatility is its calling card, with the tuning nozzles providing 2 IEMs in 1 box - the OD200 is able to switch from a neutralish bright set to a warmer smoother single DD in the blink of an eye.

Accessories are generous, and ergonomics and build are second to none. It is easily driven, with top-notch timbre and good technical chops. This IEM is well suited for treble sensitive folk, though perhaps trebleheads might want a bit more pizazz in the upper frequencies.

There are areas for improvement though, as imaging is not its strongest suit. Additionally, there are some compromises to be made when switching between the 2 tuning nozzles - the black ones can veer to shoutiness in the upper midrange, whereas the silver ones lose a bit of resolution.

Nevertheless, in the big scheme of things, the OD200 is a solid single DD to consider, for consumers who want to savour gear in the single DD midFI market, and get an IEM with 2 tunings in one.

DISCLAIMER

I would like to thank HIFIGO for providing the AFUL MagicOne.
It can be gotten here: https://hifigo.com/products/aful-magicone (no affiliate links).




SPECIFICATIONS

• Driver configuration: Single balanced armature
• Impedance: 38 Ω
• Frequency response: 5 Hz - 35 kHz
• Sensitivity: 103 dB
• Cable: 2-pin, 0.78 mm; oxygen-free copper silver-plated Litz cable; 3.5 mm and 4.4 mm termination available
• Tested at $139.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 3 pairs of soft silicone eartips (S/M/L)
- 3 pairs of stiff silicone eartips (S/M/L)
- Cable
- Hard carrying case

For something retailing above $100 USD, the accessories are quite decent, other than perhaps the lack of a modular cable and foam tips.




Speaking about tips, we have 2 variations of silicone tips on offer. Both tips are similar in bore size, but the white ones are softer to the touch, whereas the dark grey ones (with a blue-bore for left side, and red-bore for right side) are stiffer. Do explore to see what suits your preferences.




The stock cable is an oxygen-free copper silver-plated Litz cable, with a 2-pin termination, which is my preference over MMCX in terms of durability. It is well-braided and of good heft. Tangling and microphonics are minimal. During ordering, one can opt for a 4.4 mm or 3.5 mm termination.




Last but not least, we have a round hard case, which should protect its contents very well. The innards are lined with a soft material, while the exterior is of solid metal.

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


BUILD/COMFORT

The MagicOne is made from transparent resin, allowing one to visualize the goodies inside (we will dive into the special tech below). The faceplates feature a falling snowflake motif.



The shells are very solid, yet light. The inner aspect has a concha protrusion for grip, with no poky edges. Ergonomics are excellent, and this IEM can be used for long listening sessions without discomfort.



Despite being a vented BA set, passive isolation is marketed to hit up to 26 dB. Indeed, the MagicOne is one of the better isolating IEMs that is not a custom IEM, and it can hold its own in noisy environments.


INTERNALS

The MagicOne utilizes a single balanced armature driver. This configuration is rarely seen nowadays, as it is arguably the weakest driver setup; single BAs combine the worst traits of a single driver (namely weaker technicalities and poorer sub-bass/treble extension), and a BA driver (namely BA timbre), and hence IEMs nowadays usually use multi BAs, or even hybrids to overcome these shortcomings.

Personally, I'm not a fan of single BA sets as such. I didn't have high expectations for the MagicOne, but was pleasantly surprised after putting it in my ears. If I didn't know that it was a single BA, I would have thought that this was actually a multi-driver pair.



How did AFUL manage this? Well, 2 novel technological marvels are incorporated within these puppies, to prevail over the single BA limitation.

Firstly, we have “SE-Math” - this furnishes better treble extension - by incorporating an RLC electric-acoustic array within a unique acoustic design.



Secondly, AFUL's "Nautilus Acoustic Maze Technology" features a special rear cavity acoustic tube. This 3D-printed ultra-thin (77 mm x 0.91 mm) acoustic tube is inspired by the nautilus snail shell, and is deliberately extended in a maze-like design for tuning purposes. Think of it as an acoustic damper via air pressure to down-throttle certain frequencies, and essentially it results in an increased bass resonance, much more than what a standard single BA can execute.

As such, via these 2 innovations, the deficiencies of a single BA are handily mitigated, as we will read below.


DRIVABILITY

I tested the MagicOne with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

With an impedance of 38 Ω, and sensitivity of 103 dB, the MagicOne is quite difficult to drive for an IEM. It is not a matter of volume, but amplification is recommended to improve dynamics, soundstage and bass tightness. It may sound meh from a weak source with insufficient juice.


SOUND & TECHNICALITIES


Graph of the AFUL MagicOne via IEC711 coupler.

Tonally, this set sports a well-balanced warm neutral signature.

Incorporating the best of a BA bass, this region is textured, fast and clean, with no mid-bass bleed. Quantity is just north of neutral, but not at basshead levels. Compared to pure DD bass, the MagicOne still has a slight lack of movement of air/decay and sub-bass extension, but the MagicOne does this area way better than other BA bass counterparts that are not vented, in view of the Nautilus concept.

The lower midrange is very transparent, with not much recession. Instruments and vocals are nicely layered on a dark background, allowing them to be pinpointed with ease. Mid-lovers will have a field day. The upper mids are sedate, with just a 6 dB ear gain, translating to some forwardness in vocals without shoutiness.

The treble is very well-dosed, in being smooth, yet with decent extension and resolution, courtesy of the aforementioned “SE-Math” implementation. The sonics are quite sibilant-free, and the MagicOne retains good clarity without resorting to the usual CHIFI cheat code of a boosted treble to give "fake resolution".

Timbral accuracy is quite decent for a pure BA setup. There is minute BA timbre heard (can't get away totally from it with a BA driver embedded inside after all), with a tinge of hollowness to notes, but it is probably the least offensive of the single BA sets I've heard.

Coherency is superb, which is a benefit of a single driver. We do not hear a disjointed slower bass driver for example, or differences in timbre and technicalities in the various frequency bands. None of the three frequencies overshadow or eat into the other ranges.

Technical chops are well-done for a single BA set. When well amped, soundstage is above average in all 3 dimensions, and imaging and layering are class-leading for this driver configuration. Instrument separation is spacious without any compression, and micro-details are showcased without needing to veer to a brighter soundscape.

Verily, I think the MagicOne might even make for a good stage monitor, in view of the neutralish profile, top-notch comfort and isolation, and commendable technicalities.


COMPARISONS

Comparisons were made with other single BA IEMs. Multi-BAs, single DDs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Westone UM1

The UM1 is a bean-shaped IEM which also has great isolation and ergonomics.

This Westone model is tuned warm-neutral, but it has a thinner note weight and a markedly more metallic timbre. Bass is also much weaker in extension, decay and texturing, which is a perennial issue with single BAs.

The UM1 is many leagues behind in technicalities, losing to the MagicOne in soundstage, micro-details, imaging and layering.


Etymotic ER4XR

The contentious point of most Etymotic gear, is the requirement for deep insertion, which can be rather uncomfortable for the uninitiated. There is an argument to be made that no matter how heavenly an IEM sounds, if one cannot tolerate the fitting, then the sonics are a moot point, which is the case with the ER4XR (personally, I can't wear it for more than a couple of minutes).

Fit aside, the ER4XR is inferior in technicalities (imaging, soundstage and micro-details). The ER4XR is warmer overall, and darker in the treble, with less treble extension. This set is also way more expensive than the MagicOne, and is probably obsolete with the advent of the MagicOne, perhaps other than having classleading passive isolation for a non-custom IEM.


KBEAR Neon

The Neon is another bullet-shaped IEM, which requires deep-insertion for optimal sonics (comfort is hence less pleasant than that of the MagicOne).

The Neon is midcentric, with a noticeable roll-off in the sub-bass and treble. It also has a more plasticky BA timbre.

In terms of technicalities, the Neon is a few steps behind, with weaker soundstage, imaging and micro-details.


CONCLUSIONS



As written above, I was a detractor of single BAs, due to their inherent weaknesses of BA timbre, sub-par end-to-end extension and second-rate technicalities. However, in the MagicOne, AFUL has done a convincing job in addressing these limitations with impressive cutting-edge technology, literally changing my viewpoint overnight!

Sub-bass and treble extension are more than decently portrayed with the “SE-Math” and Nautilus concepts, with a fast and clean bass, clear midrange and smooth yet resolving treble. Technicalities are nothing to sniff at - with imaging and layering the star of the show - and the MagicOne bestows a smooth warm-neutral tone, which is very well-balanced and coherent, with not an ounce of sibilance.

The MagicOne easily stomps on other single BA competitors - some maybe costing even more - and actually sounds more like a multi-driver transducer due to these special innovations. It can even be used for stage monitoring or audio work due to the solid technical chops, great comfort, splendid isolation and neutralish profile.



Nothing is perfect though. The MagicOne requires amplification to do the sonics justice, and I'm afraid driving it off a weak source will result in a meh sound. Despite packing the most creative of designs, the bass still does not sound 100% as natural as a DD bass in terms of extension and decay, though it comes pretty close.

Some might argue that the pricing is a bit prohibitive for a single BA (though some Etymotic single BAs are actually pricier!). Truth be told, at $100ish, we can't deny that there may be established hybrid or planar tech out there which are more technical.

Ultimately, the MagicOne is a proof-of-concept of what a single BA can achieve, with proper tuning and implementation. The magical one - or the magic that can be pulled off with one BA - is an apt namesake, and we now have a revolutionary formulae that may spur manufacturers to refine on. For example, planar IEMs were for a long time thought to be exotic and costly, but in the span of just 1 year, we have seen its proliferation evolve to a planar craze. Nowadays, we routinely see sub-$100 planar IEMs that are respectable sounding! What AFUL has done here is literally ground-breaking, and I do hope these advancements will filter down to future (cheaper) releases, such that all consumers can benefit!

DISCLAIMER

I bought the Q5 at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.com/item/1005005790619423.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm ceramic carbon nano dynamic driver
• Impedance: 26 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 109 dB
• Cable: MMCX; 4-core single crystal copper silver-plated cable; 3.5 mm termination
• Tested at $54 USD (frequently on sale for cheaper)

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of wide-bore silicone eartips (S/M/L)
- 3 pairs of narrow-bore silicone eartips (S/M/L)
- Cable
- Carrying case
- Cleaning cloth

For a set retailing around $50ish USD - and even cheaper than that on sales - the accessories are par for the course.




No foam tips are included. However, we have 2 variants of silicone tips - the wide-bore ones boost soundstage and treble, whereas the narrow-bore ones compress soundstage but tame the treble slightly.




Included is a 4-core single crystal copper silver-plated cable. This is on the tangly and thinner side. There's a chin cinch for added grip. Sadly, it is an MMCX cable, which in my experience, may be less robust than 2-pin ones with frequent cable swapping.

A rectangular semi-rigid zipper case graces the packaging. The innards have a soft material and webbing to cushion the contents. Lastly, we have a velvety cleaning cloth.

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


BUILD/COMFORT



Fashioned from dermatological-friendly 3D-printed resin, the housings suspiciously look like the (more expensive) Meze Advar's shells. While CHIFI may understandably be not so robust with regards to patents and licensing, it would have been more respectable if EPZ could have sourced for a more individually unique design for the Q5.

Thankfully, the housings are light and ergonomic, no complaints with fitting on my end. The inner aspects are smooth without any protuberances. EPZ has nicely added serial numbers to each IEM, which adds a whiff of exclusivity.



When placing an order, one can opt for a black or white design.



As discussed above, the Q5 utilizes MMCX connectors, which are not my preferred ports. Nevertheless, on this model, the cables connect and disconnect off quite easily, with no overly loose or tight connectors. Hopefully, it will last a long time.

Despite being vented, isolation is above average. Unfortunately, I found driver flex on my set, but this is partially dependent on ear anatomy and type of tips used, so YMMV.


INTERNALS

The Q5's engine is a dual magnetic dual cavity 10 mm ceramic carbon nano dynamic driver.




DRIVABILITY

I tested the Q5 with the following sources:
- Apple dongle
- Cayin RU7
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is relatively easy to drive, and amplification isn't 100% required.


SOUND & TECHNICALITIES


Graph of the EPZ Q5 via IEC711 coupler.

Tonally, the Q5 is tuned to a bright V-shape.

This IEM is sub-bass focused. Sub-bass extension is not the deepest though, and quantity is just north of neutral but not at true basshead levels. Laudably, the bass quality is solid, and we hear a fast and clean bass with no mid-bass bleed. Texturing is quite decent for the coin.

The lower midrange is a tad recessed. With no big mid-bass to bleed into this area, it is on the thinner side for note weight. However, we get a very transparent and clean midrange, and the Q5 allows instruments to be nicely layered on a dark background. The upper mids sport about 8 dB of ear gain, and vocals are in the forefront, and are just at the edge between shoutiness and forwardness (as per the Fletcher Munson curve, at louder volumes, this region might be fatiguing, but should be manageable at low to moderate volume levels).

The lower treble continues on from the upper mids peak, and climaxes at around 5 kHz, bringing lots of clarity and resolution to the table. Trebleheads will like this tuning choice, though treble-sensitive folks might need to look elsewhere. We have a lot of micro-details showcased, but there admittedly are instances of sibilance.

Timbral accuracy is quite decently portrayed, as per its single DD roots.

In technicalities, the Q5 shines for a $50ish single DD. Soundstage is above average in all directions. Micro-details and clarity - as alluded to - are very good. Imaging and instrument separation belies its price point. Along a spectrum between musicality and analyticity, the Q5 definitely sings towards the latter.


COMPARISONS

Comparisons were made with other budget single DD sets. BAs, hybrids and planars were left out of the comparisons as the different driver types have their pros and cons.




Dunu Kima Classic

The Kima Classic is more V-shaped, with greater bass and upper mids on show.

The Kima Classic has inferior technicalities, losing to the Q5 in soundstage, imaging, micro-detailing and layering. Timbre is a bit less natural on the Kima Classic, and it has a more recessed midrange.

The Kima Classic is however, better accessorized.


Simgot EA500

The EA500 has 2 tuning nozzles to furnish a Harmanish tone versus a neutralish bright lilt. Thus, it is more versatile as such.

The EA500 is more subdued in the sub-bass but more zealous in the upper mids on both tuning nozzles. Thus, the EA500 can come across tonally as brighter and more fatiguing/sibilant.

Both are technical sets, but the EA500 is a hair ahead in technicalities, boasting of better imaging, instrument separation and micro-details.


CONCLUSIONS



In a nutshell, the EPZ Q5 is a solid entrant to the budget single DD game. It features a bright V-shape tuning with excellent technical chops. Ergonomics, accessories and drivability are its strong suits, in addition to a fast and clean bass, with nice resolution.

Some areas are a letdown, specifically to do with its façade - namely the MMCX connectors, driver flex and the glaringly obvious Meze doppelganger looks. Additionally, the Q5's tuning lies on the brighter side, and may not be the cup of tea for our treble sensitive brethren. Consumers wanting a lush and thick note weight might also have to consider alternatives.

By and large, the Q5's forte is its technicalities, and it is relatively affordable for an introductory transducer for those new to the hobby. It is definitely one to consider in the conversation for users looking for a bright analytical budget single DD.