DISCLAIMER

I bought the FA19 at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006889859626.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 x Knowles balanced armature drivers
• Frequency response: 20 Hz - 40 kHz
• Impedance: 10 Ω
• Sensitivity: 106 dB/mW
• Cable: MMCX; silver cable 8 stranded Litz; modules for 3.5 mm and 4.4 mm terminals
• Tested at: $999.99 USD

ACCESSORIES

Other than the IEM, these are included:

- 2 pairs of foam eartips (M)
- 2 pairs of double flange silicone eartips (M)
- 3 pairs of bass silicone eartips (S/M/L/)
- 3 pairs of balanced silicone eartips (S/M/L)
- 3 pairs vocal silicone eartips (S/M/L)
- 3 pairs of Spinfit silicone eartips (S/M/L)
- 3 pairs of HS18 silicone eartips (S/M/L)
- Plastic case for eartips
- HB5 Carrying case
- Cable
- 2 modular terminals for 3.5 mm and 4.4 mm modules
- MMCX release tool
- Magnetic clasp
- Cleaning brush with pin to flick tuning switches



The accessories are truly fit for a king, and this is one of the best accessory line-up I've encountered in my audio journey.

We are literally spoiled for choice with the wide array of eartips; these even come in a little plastic case.



The dual flange tips provide the best isolation, though comfort may be an issue because of the deep insertion. The Spinfit tips are rather neutralish - they have excellent comfort and fit - without coloring the sonics too much. The HS18 tips bestow a warm neutral tonality, with solid fit and seal.

The other 3 silicone tips perform their functions as per their namesake:
- "Vocal" tips - boosts upper frequencies.
- "Bass" tips - boosts lower frequencies.
- "Balanced" tips - mid-point between the above 2 tips.

For foam lovers, fear not, there are 2 pairs of foam tips included. These improve isolation, though with some soundstage compression and treble dip.

Eartips play a major part in sonics, comfort, seal and isolation, so do explore and tip-roll to see what suits your requirements.




The stock cable is a silver cable braided in an 8-stranded Litz configuration. This is sheathed with TPU, which should prevent yellowing and hardening. This is definitely one of the better stock cables, with good heft and robust braiding. It does not tangle much, and has minimal microphonics. There's a chin cinch for added grip.

A plus point for this cable, is its modular plugs, with distal terminals for 4.4 mm (balanced) and 3.5 mm (single-ended plugs). Thus, this increases the FA19's compatibility with various sources.

The MMCX removal tool is a useful addition for safe removal of the MMCX cable, and we have a magnetic clasp to tidy up the cable. Also included is a cleaning brush plus switch pin, for toggling the switches on this tunable IEM.




Last but not least, we have a large semi-rigid case, which has compartments and a velvety material internally to cushion the contents.

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


BUILD/COMFORT



The FA19 is fashioned from resin via DLP 3D-printing technology, with an ultra-tight precision of up to 0.0375 mm. The shells are beautiful yet solidly built. Other than the faceplate, the rest of the shells are transparent, which allow users to visualize the drivers in all their glory.

Weighing in a 7 g apiece, the earpieces are very light. Ergonomics are top-notch too, with a concha protrusion for added stability, yet without any poking edges on the inner aspects to cause discomfort. In fact, I've used the FA19 for marathon listening sessions without any discomfort whatsoever.

Unlike most IEMs which use 2-pin connectors, the FA19 utilizes MMCX, which allows the housings to swivel slightly - this improves fitting and positioning of the IEM in the ears. MMCX does have a bad rep in budget CHIFI due to wearing out after multiple cable swaps, but MMCX come in a variety of grades, from cheap and less robust ones, to higher quality types. The MMCX in the FA19 seem to be of the latter types - they snap on and off with ease, and aren't too tight or too lose - I've swapped them at least 30 times during my testing without any issues.



Contrary to most all-BA IEMs, the FA19 is vented in the sub-woofers, so the FA19's isolation is bang average, and loses out to some unvented BA types in this department. Indeed, I tried bringing the FA19 for a stage monitoring gig, but unfortunately it didn't isolate that well, with bass losses noted in noisy environments.

On the flip side, the vents bring a wealth of benefits:

• Soundstage is expanded and akin to an open-backed concept
• Bass reverberations and decay are improved, and beat most all-BA types in this area - we will read about this below
• Some users complain about the pressure sensation of an all BA unvented housing - there is none of that in the FA19 here

TUNING NOZZLES/INTERNALS



The FA19 packs 10 choice Knowles BA drivers in its frame, in the following setup:

• 4 custom Knowles bass drivers handle the low-end
• 2 ED Knowles drivers take care of the midrange
• 4 SWFK Knowles drivers settle the treble regions

There's a rubycon film capacitor arranged in a 3-way crossover, with a midrange notch filter to ensure a seamless transition from the midrange to the treble frequencies.

As alluded to, the bass BAs have a vented sub-woofer via a negative feedback system to boost bass. This IEM also has a creatively designed extended acoustic tube - Fiio patents this as the S Turbo concept - which deliberately lengthens the tubes so as to dissipate treble, and hence retain bass. Indeed, BA bass is the usual pitfall found in all-BA sets, but as we will read in the following sections, the FA19's bass sounds extremely close to a DD bass, in terms of movement of air and decay.


Graph of the Fiio FA19 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The FA19 in stock form, has a "monitor" mode - see the red graph above. This furnishes a warm neutral signature that is very agreeable to the ears. This tuning is very reference-like and sounds mature.

Toggling the bass boost switch - the black graph above - pumps up the bass, thus bringing some fun to the equation.


DRIVABILITY

I tested the Fiio FA19 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, and additional amplification is not essential.

However, take note that it has a low 10 Ω impedance, which in practice, due to the rule of eights, means that sources with an output impedance of > 1.25 Ω may change the frequency response of this IEM. Thus, source pairing is potentially tricky for audiophiles that use higher impedance gear.


SOUND & TECHNICALITIES

The following impressions were done with the bass boost switch turned off - ie stock form with the red graph. This confers a warm neutral tonality as described above.

With the vented bass BA, the FA19 has good sub-bass extension, and the bass sounds similar to a regular DD bass. It isn't exactly 100% identical though, as there's just a slight lack of decay in the final tail of bass notes, but this improves on the vast majority of unvented BA bass drivers that sound unnatural in terms of movement of air and decay. Bass is textured, speedy and clean, with no bleed.

For folks that want a bigger bass, just hit the bass boost switch. This makes the FA19 warmer than the stock tuning, with a more impactful mid-bass and deeper sub-bass extension.

The lower midrange is a tinge depressed, but is very transparent due to no bass impingement. This allows instruments and vocals to be nicely palleted against a dark background. Upper mids hit only a 6 dB ear gain, which translates to forward vocals without shoutiness; this will be much appreciated by the anti-pinna gain gang.

The FA19 has a smooth treble, with good extension. Sibilance is kept to a minimal. Despite not being overly zealous in the treble, it is still very resolving to allow micro-details and fine nuances in the music to be captured.

The FA19 is a technicalities beast. It boasts of a massive soundstage that goes beyond the ears, with pinpoint imaging and remarkable layering. And this is without needing to resort to a steroid boosted treble to garner "fake clarity", a cardinal sin committed in some other CHIFI gear.

BA timbre is minimal compared to some other all-BA rivals. Note weight is just right on stock tuning.


COMPARISONS



The FA19 will be compared against other pure BA IEMs. Hybrids, planars and single DDs are left out of the comparisons, as the different transducer types have their own pros and cons.

The bass boost switch is turned off for these comparisons.


Sony IER M9

Graph of the Fiio FA19 versus Sony M9 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The M9 has less bass, and the bass sounds quite BA-like, with a lack of decay and sub-bass extension. The M9 also has less treble, and sounds darker.

The M9 has a weaker soundstage and poorer micro-detailing, but has a hair better imaging. The M9 has a thicker note weight.

The M9 is harder to drive. The M9 has better isolation, but due to the pressure suction in the ears, some users complain of discomfort using it.


EPZ 530


Graph of the Fiio FA19 versus EPZ 530 via IEC711 coupler. 8 kHz is a coupler artefact peak.

The EPZ 530 is a bright V-shaped set, with more upper mids and treble than the FA19. Thus, the EPZ 530 sounds more aggressive and harsh, with sibilance in more abudance.

The EPZ 530 has a more prominent metallic BA timbre, with a truncated BA bass that lacks natural decay.

In technical aspects, the EPZ 530 loses in soundstage and imaging, with micro-detailing about on par.


CONCLUSIONS



The Fiio FA19 is a competitive all-BA set that belongs in the TOTL conversation. In stock tuning, it has a pleasant warm neutral signature, adeptly balancing musicality and technical prowess. Flicking the bass boost switch thickens the bass, adding some excitement to the soundscape, so it isn't a one trick pony.

The ace up its sleeve is a vented sub-woofer labyrinthine acoustic tube, which allows the FA19 to sound very close to a DD bass in terms of air movement and decay. The vented design also assists with a huge soundstage and relief of pressure in the ears, though isolation loses out to other all-BA sets which are unvented.

The rest of the tonality is also appealing, with the midrange clean as a whistle, coupled with a resolving yet sibilant-free treble. Technicalities are a highlight, in particular soundstage and imaging.

In non-sonic aspects, the FA19's packaging is one of the best in the business, with all that an audiophile would require accounted for. The modular cable promises compatibility with both single-ended and balanced sources. Build quality and ergonomics are second to none. For detractors of MMCX connectors, the FA19 comes with this connector type, but thankfully the quality seems solid, with easy removal and connectability.



While the FA19 is easily driven, with no requirements for amplification, the low impedance of 10 ohms may be potentially problematic when used with high impedance sources.

In conclusion, the FA19 is a solid all-BA set. It keeps the stellar properties of an all-BA IEM - such as the technical performance and nimble bass - yet also acing some areas that other all-BA gear fail to achieve, such as bass naturalness and pressure relief. This IEM has my heartfelt recommendation, and would be a great option for folks searching for a TOTL model that does most departments well.

DISCLAIMER

I bought the Fiio KA17 from Aliexpress at a discounted price.

It can be gotten here: https://www.aliexpress.com/item/1005006468787689.html (no affiliate links).




SPECIFICATIONS/COMPATIBILITY





Tested at $149.99 USD


The KA17 is a plug-and-play device. It does not require additional drivers on Windows 10 and above, and this dongle was easily recognized by various Android and Windows devices I paired it with. Apologies, as I am not an Apple user, so I can't comment on its usage with Apple gear.

The KA17 is compatible with a free Fiio Control App for Android devices. This is sadly not available for Apple users. As of the time of writing, only PEQ can be accessed with the app, though Fiio's rep says they are looking to add other functions to this app later on (https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142).



For our gaming friends, the KA17 has a nifty UAC 1.0 mode, which is compatible with devices such as the Switch and PS5.


ACCESSORIES



Other than the dongle, the packaging comes with:
- Leatherette case
- USB-C to USB-C cable
- USB-C to USB-A adapter



Sadly, there is no Lightning adapter for our Apple users, but the accessories are nonetheless pretty generous. Some pricier dongles do not have a case for example. Talking about cases, we have in the box, an elegant leatherette case, and one can choose between a blue or black variant.

The USB-C to USB-C cable is sheathed nicely and is pretty supple, and the USB-A adapter is a useful gadget to plug the KA17 to laptops and PCs.


DESIGN/FUNCTION



The KA17 comes in a rectangular profile, and is fashioned from aluminum alloy. There's a black or blue chassis which users can opt for during ordering.

It is quite portable, weighing 33.5 g and measuring 64 x 27.7 x 12.7 mm. The KA17 is definitely pocketable and unobtrusive.

The top of this DAC/AMP features an elegant 0.91 inch matrix dot display LED screen.




One end has the 3.5 mm (single-ended) and 4.4 mm (balanced) ports.




The KA17 is uniquely designed with 2 USB-C input ports. One is for data-cum-power, whereas the other one along the lateral side of the fuselage is solely earmarked for external independent power. As this dongle is marketed to output up to 650 mW power on desktop mode, we may need this power booster!

Anyways, the KA17 can be powered from just the data USB-C port, without the aforementioned external USB-C power port, but the caveat is that this only works if the upstream source has enough output power (eg laptops and desktops should be fine). Android phones may also power the KA17 from the data port, but bear in mind, the battery might be drained down rapidly (some lineages of Apple phones reportedly may not have enough power though).

Users would be pleased to note that the KA17 does not cannibalize power from USB-OTG connected source when the external power USB-C port is plugged in. Hence, this latter USB-C port is a useful option to pump out higher output without consuming the battery of a weaker phone that is connected to the other data USB-C port.




On the other lateral side of the body, we have the desktop mode switch, volume switches and a multifunction button. Holding this multifunction button for 2 seconds will take one to the settings menu, where we have a wealth of toys to play with. These are:

• SPDIF toggling
• Channel balancing
• Timeout screen
• MQA toggling
• EQ settings
• Max volume cap
• Finetuning volume steps
• Screen rotation
• UAC 1.0 and 2.0 toggling
• Language
• Firmware version checks
• Gain settings
• DAC filters

Since the KA17 is a powerhouse, one may inadvertently max out the volume and destroy the transducer (or heavens forbid, the ears!), so it is nice that Fiio has provided options to limit the max volume and volume steps!

For our friends who love to EQ, the KA17 is special in that it supports 3 custom 10-band PEQ settings via the Fiio Control App. As discussed, this is only supported on Android devices. There are also preset EQ options found here, namely:
- Jazz
- Pop
- Rock
- Dance
- R&B
- Classical
- Hip-hop

The PEQ is a really incredible tool to shape the dongle to whatever sound signature you wish for. However, PEQ is unavailable in the UAC 1.0 mode, and the PEQ only supports up to a max PCM 192 kHz/24 bit. The SPDIF output also has no PEQ. Thankfully, once saved on the Android App, the PEQ settings will be available the next time you want to use it (there are 3 custom PEQ banks available).

The KA17 supports up to 60 and 120 volume steps (which allows great finetuning of the increments), and it has independent volume controls, something which is not seen in pricier competitor dongles (cough cough looking at you Questyle M15).

Sadly, in stock form, the KA17 has no play, pause and track skip buttons available on the dongle, but as above, Fiio is getting feedback and seeing if these can be added to their App for future firmware updates.


INTERNALS

The KA17's engine are dual ES9069Q DAC chips with dual OPA1662 amps. It supports up to 768 kHz/32 bit and DSD512, with full MQA decoding available. The 3.5 mm jack also supports SPDIF output (though this is limited to 96 kHz/32 bit).




For the technical geeks, this device has a THX AA 78+ amp, with 8 op amps in a parallel 4-channel circuit. Its brain is a
16-core XMOS XU316 with dual crystal oscillators. This is installed in a 3 stage plus 3 rail power supply design. The primary stage involves filtering and voltage protection, while the secondary stage settles the DC-DC boost conversion. The final stage involves 3rd stage LDO voltage stabilization, and the power supply circuit is split to two smaller rails.



The digital and analogue tracks are also installed on individual circuit boards with shielding, to minimize cross-talk.




SOUND/PERFORMANCE

I tested the Fiio KA17 with only Android phones and Windows laptops and PCs. Once again, I'm not an Apple user, so I can't vouch for its performance with Apple ecosystem sources.

On phones, I used the HiBy Music Player, with USB bit perfect OTG activated.


In stock form, tonally, the KA17 sports a neutralish profile, with a hint of warmth. It is very clean, yet expansive sounding. If one has heard the classic Fiio house sound, generally it veers to a sterile and analytical soundscape, and the apple here does not lie far from the tree. However, the KA17 seems to have a tinge thicker note weight than the other Fiio dongles - such as the predecessor KA13 for example - but the former adds a bit of musicality on top of the technical aspects with this added note weight.

Of course, with the previously mentioned 10-band PEQ, audiophiles can adjust this dongle to any tonality they wish for, so the possibilities and versatility of this device are literally endless. Dare I say it, but the PEQ is actually a game-changer, as one can prime the KA17 to be a warmer source for edgier gear, and vice versa.

Technicalities are superb for a $100ish dongle. Soundstage is expansive (especially with height and depth), and micro-details are retained well. Imaging and layering is solidly portrayed, and the KA17 can handily beat more expensive dongles in this department.

This DAC/AMP has single-ended and balance ports, with gain settings, and a beast desktop mode. Power-wise, we get impressive advertised output specs of 270 mW on single-ended, and 650 on mW balanced with the desktop mode triggered. As of the time of writing, the KA17 is the king godzilla in the dongle stable, beating its older brother's (the Fiio KA13) 550 mW output power. This is literally enough power to drive the most demanding of transducers, and users should not fear for any lack of headroom.

For voltage specs, on desktop mode and high gain, this corresponds to:

• single-ended output: 3 Vrms
• balanced output: 4.5 Vrms

No doubt we can't game physics, and the KA17 does get hot on desktop mode, especially when driving power-hungry transducers. The battery drain on phones is also quite substantial. Indeed, with desktop mode triggered, the parallel amp is in play, and Fiio reports a 40% power consumption increase with this: https://www.head-fi.org/threads/fii...icially-released.971370/page-19#post-17998142

Thankfully, we have an option to turn off desktop mode to conserve battery, especially for less demanding transducers. This dongle runs warm but not hot with desktop mode switched off. Additionally, Fiio has a placed an internal thermostat inside the KA17, which automatically reduces or tones down the output when the temperature hits a preset level. Using the KA17 in a fan-cooled environment, or perhaps removing the leather case may also aid in heat dissipation, especially if one is using the KA17 on desktop mode for long periods.

For those that do not require desktop mode, these are the specs for the power output on non-desktop mode, which is still very respectable, and should drive most gear out there, other than outliers (https://www.head-fi.org/threads/fii...-is-officially-released.971370/#post-17923494)

3.5mm output, high gain:

• L+R>110 mW+110 mW (16 Ω, THD+N<1%)
• L+R≥140 mW+140 mW (32 Ω, THD+N<1%)
• L+R≥20 mW +20 mW(300 Ω, THD+N<1%)

4.4mm output, high gain:

• L+R≥150 mW+150 mW(16 Ω, THD+N<1%)
• L+R≥300 mW+300 mW(32 Ω, THD+N<1%)
• L+R≥30 mW+30 mW(300 Ω, THD+N<1%)

FWIW, I put the KA17 through its paces via 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)

With 4.4 mm and desktop mode, I'm glad to report these 3 goliaths were easily tamed, with much headroom to spare. Dynamics, soundstage and bass control were all exquisitely done, and the KA17 may actually do a better job with bass texturing and tightness than some desktop devices!

The KA17 has a low output impedance of 1 ohm on the single-ended and 1.5 ohm on the balanced ports, respectively. This fixes the issues of the predecessor KA13's 1.7 and 1.8 ohm output impedance on single-ended and balanced, which made it a tricky pairing with low impedance IEMs. We have no impedance mismatch here with the KA17, so there won't be tonal skewing of fussy IEMs.

Some additional areas of refinement: the KA17 has no EMI or hiss, which is a sign of good shielding and well-implemented noise floor control. There is also no nasty "POP" sound heard on removing transducers.


COMPARISONS

The KA17 will be compared against other midFI dongles . Some are actually pricer than the KA17, but read on to discover some surprising results, that performance is sometimes not related to price!


Cayin RU7

The RU7 is a 1-bit tech dongle. It is warmer and more analoguish than the KA17, though with inferior technicalities. The RU7 has smaller soundstage depth and height (but perhaps a hair better width), with weaker micro-detailing, imaging and transients.

Although the RU7 has a presentable 400 mw output on balanced/high gain, this is dwarfed by the KA17's 650 mW on tap. Both dongles run warm during usage (the KA17 a bit more so, especially on desktop mode, but this is not unexpected cause of the bigger power outlay).

The RU7 has 3 DSD filters, but it has no PEQ or app compatibility. It has no second USB-C port for external power feeding, and it also has some clicking noise during usage due to DSD conversion within the DAC.

The RU7 is more expensive, and has poorer power/technicalities, but it is a tinge thicker in note weight with a more natural timbre. However, value goes to the KA17, as the RU7 has no PEQ and can't drive higher demand transducers.


Aune Yuki

The Yuki is a dual Cirrus CS43198 dongle. It is tuned neutralish, with some blunted note edges.

The Yuki has no app compatibility, no DAC filters and no PEQ. It does not even have an LED screen.

With regard to technicalities, the Yuki is a league or two behind the KA17, with the former having worse soundstage depth and height, with second-rate imaging and micro-detailing. The Yuki is slightly more organic in timbre.

One area which may be deal-breaking, is the Yuki's anemic power specs. It has a paltry 160 mW on 4.4 mm, which is multiples lower than the KA17's monstrous 650 mW. Having said that, the Yuki runs cooler during usage, with a bit less battery drain.

Considering the Yuki is just $10 cheaper than the KA17, I would get the KA17 any day of the week, in view of the superior versatility (PEQ), technicalities, UI settings and power output.


Questyle M15

The M15 is a ES9281AC dongle, which is quite neutral. It has no LED screen, PEQ, app or DAC filter settings.

The M15 is behind in power output, and can't drive too demanding stuff. The M15 has weaker soundstage and imaging, with less dynamics. It also hisses with some sensitive IEMs, with EMI present on occasions. The M15 has no independent volume steps too.

In a nutshell, the M15 costs more, but actually doesn't perform as well as the cheaper KA17.




CONCLUSIONS

I hardly give 5/5 ratings for my reviews, but the Fiio KA17 deserves this stellar score for performing excellently in almost all departments.

Externals like build, accessories and portability are solid, with independent volume controls that are finely-tuned, with even an option for volume protection. There are a myriad of settings to play with, such as DAC filters, and even a UAC 1.0 mode for our gaming friends. The PEQ - only available on the Android app - unlocks tonal versatility, and may be a game-changing addition to morph the KA17 to what is desired tonally on-the-fly.

In stock form, it boasts of a neutral signature with a touch of warmth, with excellent technicalities to boot - in particular, soundstage and micro-details are eye (or rather, ear) catching. Internally, the KA17 is well-designed, with no hiss, EMI, nor "POP" on disconnecting gear.

The KA17 has a wicked 650 mW output power on desktop mode, which kills all competition in the dongle world, and this workhorse can easily drive challenging low sensitivity/high impedance gear to aplomb, with eargasmic dynamics and large headroom. It is not a one-trick pony, as fastidious sensitive IEMs also synergize well, due to the low output impedance of this dongle, something that more powerful sources usually neglect.

Well, despite all these laudable traits, the KA17 is not perfect, and one has to have a critical lens to pick out small areas for improvement. The big power output comes with a compromise of battery drain and heat (especially on desktop mode). Thankfully, Fiio has cleverly added a separate USB-C port for external power feeding, so as not to burn out weaker batteries from mere phones. Also, there is an option to turn off the desktop mode to conserve battery, and the KA17 still pumps out respectable specs even with this handicap.

As written above, Fiio has promised to look into adding more functionality to the Fiio Control App, which as of the time of writing, only supports PEQ. If this can truly be addressed, we will be close to perfection, though the Fiio Control App sadly does not support Apple devices for the KA17.

In conclusion, the Fiio KA17 has my stamp of approval for a benchmark dongle. At the $100ish retail price, it adeptly beats costlier dongles in most departments, with the PEQ being the feather on its cap. The KA17 is a sound investment (no pun intended) for audio enthusiasts that want a future-proof portable source, that can also double up as a desktop device, with stupendous power in this minute frame.

DISCLAIMER

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

The Delci can be gotten here: https://hifigo.com/products/kefine-delci or https://www.linsoul.com/products/kefine-delci (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm DLC + PU diaphragm dynamic driver
• Frequency response: 20 Hz - 20 kHz
• Impedance: 28 Ω
• Sensitivity: 108 dB
• Cable: 2-pin, 0.78 mm; 3.5 mm termination
• Tested at: $59 USD (usual price $79 USD)

ACCESSORIES



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

The accessories are very decent for a sub-$100 USD set, perhaps other than the lack of foam tips being a small nitpick.




We have 2 variants of silicone tips provided - the narrow-bore ones boost bass but compress soundstage a bit, whereas the wide-bore ones increase treble and air, with some soundstage improvement.




While we have no information on the exact cable materials, this stock cable is actually quite good for a budget IEM. It is well-braided, with minimal tangling and negligible microphonics. There is a chin cinch for added grip during usage. The cable only comes in a single-ended 3.5 mm termination, but it is no biggie for diehard audiophiles to pair an aftermarket balanced cable, with the detachable 2-pin housing.




Lastly, we have a semi-rigid leatherette zipper carrying case; it is tough to withstand compression, with inner webbing.

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 Delci is fashioned from aviation-grade CNC machined aluminum alloy. It is literally built like a tank, and comes in a steam punk-like gunmetal hue.

Each earpiece weighs a mere 5.3 g, and coupled with smooth inner aspects sans awkward protrusions, the Delci promises to be a comfortable proposition for longer listening sessions, in terms of ergonomics.



I didn't detect any driver flex on my pair, but this is partially dependent on ear anatomy and type of tips used. Even though this IEM is heavily vented, isolation is above average and it can be used in noisier environments.




INTERNALS

The Delci's engine is a 10 mm DLC + PU diaphragm dynamic driver.


DRIVABILITY

I tested the Delci 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 relatively easy to drive, and can be powered off a weak smartphone. But it will scale with amplification, in terms of bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


Graph of the KEFINE Delci via IEC711 coupler. 8 kHz is a coupler artefact.

Sound wise, the Delci has a U-shaped tonality, which makes it quite compatible with a myriad of music genres.

This set is sub-bass focused, with a nice visceral rumble heard in sub-bass heavy tracks. The mid-bass is nevertheless very nimble, with no mid-bass smearing. Admittedly, texturing may be at times one-noted, but it can handily cope with fast complex bass tracks. For example, in Sting's Englishman In New York, at around 2:12 there is a double bass solo, which the Delci handles with aplomb.

The lower midrange is relatively transparent, allowing vocals and instruments to be easily layered on a dark background. With no more than 6 dB ear gain, upper mids and vocals are extremely non-fatiguing, with zero instances of "shout". The vocals are still forwards and are not drowned out in the mix - so not to worry - but the pinna-gain sensitive gang will be very home with this tuning choice.

The slight boost in the upper mids continues on with an elevated lower treble. This brings resolution and clarity to the table, though there are some instances of spiciness. Sibilance is just slight, but thankfully the narrow-bore eartips included in the packaging can tame the treble for the very treble-sensitive. The upper treble tails off, so it isn't the most airy IEM per se.

Timbre is very natural, and is a highlight on this set, for acoustic instruments in particular.

In terms of technicalities, the Delci boasts of an expansive soundstage in all 3 dimensions, especially when well juiced with amplification. Imaging is accurate, with solid instrument separation and layering. Micro-details and resolution are good in view of the boosted lower treble, no complaints here.

All in all, with the big sub-bass and slightly augmented lower treble, the Delci amalgamates musicality and technicalities nicely. It does not veer to either extreme - not being overly sterile and analytical, yet staying away from being too analogue-sounding.


COMPARISONS

Comparisons were made against other $50 - $100 USD single DDs. Planars, hybrids and BA types are omitted, as the different transducers have their own pros and cons.


Oriveti OD100

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

The OD100 is a much brighter IEM, and is very shouty in the upper mids, due to an over zealous 14 dB ear gain! The OD100 also has a marked sub-bass roll-off, and is quite sibilant in the treble. Thus, perhaps only trebleheads will gravitate to the OD100's tuning, as it can be grating for other consumers in tonal balance.

The OD100 is much more sterile in note weight, and sounds rather metallic in timbre. The OD100 has weaker soundstaging and imaging, but has slightly sharper edge definition and clarity, which is perhaps a function of the brighter signature.

The OD100 can be worn cable down or over-ears due to a bullet shaped design, which slightly increases fit permutations.


Moondrop Aria 2


Graph of the Delci versus Aria 2 via IEC711 coupler. 8 kHz is a coupler peak.

The Aria 2 follows the virtual diffuse sound field (VDSF) - which is essentially Moondrop's in-house variant of the Harman curve. Its sound signature is on the thinner side, with an upper midrange boost - this provides a "clean" soundscape, but it can sound boring and a bit shouty in the upper mids, with a 9 dB ear gain. Bass is also less pronounced on the Aria 2.

The Aria 2 is thus more sterile sounding, with less dynamics on tap. In technicalities, the Aria 2 loses in soundstage and imaging, with micro-detailing about on par.

The Aria 2 is much heavier in weight, and may be uncomfortable to use for longer listening sessions.


Simgot EA500LM


Graph of the Delci versus EA500LM (3 tuning nozzles) via IEC711 coupler. 8 kHz is a coupler peak.

The EA500LM has 3 tuning nozzles, with all tuning permutations being much brighter - and fatiguing - in the upper mids. This IEM has slightly better versatility though, due to the aforementioned tuning nozzles, but upper mids-sensitive folk should be wary of the EA500LM as such.

The EA500LM sounds a bit more metallic in timbre. With the gold/red nozzle installed on the EA500LM (ie least fatiguing/shouty combination), technicalities like imaging and micro-detailing are about on par with the Delci, though the Delci is the winner in soundstage.


CONCLUSIONS



The KEFINE Delci is a stellar entrant to the ultra-competitive budget single DD market. At its current pricing of $50ish USD, there's a lot to like about it. Externally, accessories, build, drivability, comfort and isolation are quite impeccable (literally and figuratively).

Sound-wise, the Delci is no slouch, espousing a U-shaped tuning with huge sub-bass rumble, yet being quite nimble in the mid-bass. The upper midrange eschews the commonly-found shout-fest fanatical steroid-boost in CHIFI budget sets, being very sedate in this region. Timbre is extremely natural, which should please the most ardent of timbre-snobs, and the Delci excels at soundstage and imaging, beating some of the single DD benchmarks in this arena.

I would have preferred a hair better texturing in the bass, but can close an eye considering its modest pricing. The lower treble is on the brighter side, and can be a tinge spicy, but thankfully, the provided narrow-bore eartips can mitigate this frequency band, even for my treble-sensitive ears.

In a nutshell, the Delci is an excellent budget single DD that I would heartily recommend for newcomers to the hobby, or even for those that want to sample something that blends musicality and technicalities adeptly, with no shouty upper midrange to boot.

DISCLAIMER

I would like to thank Rikubuds for providing this unit. The Alter Rider 3 is a DIY bud from famed maker @RikudouGoku . It can be obtained here:
https://rikubuds.com/generation-3/
https://www.instagram.com/rikubuds/




SPECIFICATIONS

• Driver configuration: 15.4 mm titanium diaphragm dynamic driver
• Impedance: 32 Ohms
• Tested at 100 Euros

ACCESSORIES



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

The accessories are pretty generous, everything that a earbud aficionado would require is included. The white denser foam adds warmth/bass, whereas the thinner black ones would make the sonics brighter and thinner. One can even combine 2 sets of foams (double foam) to add girth and increase warmth if you would like, so do foam roll and see what suits your preferences.




The added round semi-rigid case has Rikubud's logo on it, and the inner aspect has webbing to store accessories.



While this earbud's cables are not detachable, when placing an order, you can opt for various colours and terminations (4.4 mm or 3.5 mm). Although the stock cable is on the thinner side, it is supple and well-braided, with zero microphonics (this is much appreciated)! The right cable has a red band to mark that it is the right side, as per usual convention.


The Alter Rider 3 even comes with Rikubud's own specially commissioned 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 Alter Rider 3 utilizes a RG39 earbud shell, and the resin housings are solid yet light. Ergonomics are excellent, with these buds nicely nesting within the intertragal notch of the ear via a thin stem, with good pivoting and balancing of its centre of gravity. I had no discomfort whatsoever in the 3 weeks that I've been testing it.




INTERNALS

This earbud utilizes a 15.4 mm titanium diaphragm dynamic driver.




The Alter Rider 3 uses Rikubud's innovative Soundsphere technology. Essentially, there are pyramid shaped protrusions within the housing, which reduces unwanted resonances via interaction and re-direction of acoustic waves. This creative design is supposed to improve imaging, soundstage and clarity.

This may be the first time that this creative concept is applied in earbuds - it is used in a very high-end headphone in the Focal Stellia - so kudos to such a brave - but as we will read below, successful - implementation of something considered uncharted waters for earbud DIYers.




DRIVABILITY

I tested the Alter Rider 3 with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 Alter Rider 3 is not the easiest flathead to drive, and like most single DD transducers, amplification may scale the sonics in terms of bass tightness, soundstage and dynamics.

As the Alter Rider 3 is neutral with a slightly thinner note weight, this earbud may synergize better with warmer sources or something more analoguish.




SOUND & TECHNICALITIES

The Alter Rider 3 is quite neutral in tonality. This makes it a suitable pairing for most music genres, perhaps other than for bass forward genres like EDM and hip-hop.




Like most traditional earbuds, the bass seems focused in the mid-bass, with some sub-bass roll-off. The quantity of bass is neutral, but this earbud eschews outright quantity for excellent quality. A very textured bass is heard, with zero mid-bass bleed and lightning fast speed. On my go-to test track for bass quality - Sting's Englishman in New York - the Alter Rider 3 aces the complex bass solo in the middle of this song, something that cannot be said for some competitor earbuds.

The midrange is the star of the show. The lower mids are transparent, with no bass bleed to impinge here. The Alter Rider 3 provides a dark palette for instruments to be layered and showcased nicely. The upper mids are boosted and vocals are forwards without veering to shouty territory. Vocal and midrange lovers will have a field day, and there's something really magical about this bud's synergy with acoustic tunes.

The treble carries on from the upper mids boost, with decent air and sparkle. The treble is well-dosed, there is minimal sibilance or splashiness of cymbals and high-hats, and these higher frequency percussive instruments have a very natural shimmer. In essence, the Alter Rider 3 should be safe for treble sensitive folk. I really like that this set does not have the fake resolution/clarity that a lot of CHIFI use to trick the ears (via overly boosting the treble for phoney details). Details and nuances can still be heard on this earbud, and the tuning is kind of monitor-like in that way.

Technicalities are superb and easily match other TOTL buds. Soundstage is quite expansive in all 3 dimensions, and instrument separation and imaging are commendable. Even with very complex riffs in music with competing instrumentation, the Alter Rider 3 handles these with ease.

The Alter Rider 3 has a very natural timbre for acoustic instruments. Strings are very life-like, brasses have a correct metallic overtone and woodwinds have a realistic airy tail. It does have a bit of a thinner note weight, but this allows the earbud to have rapid transients without any bloat.


COMPARISONS




Yincrow RW-2000

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

Timbre is natural, but it has a weaker soundstage compared to the Alter Rider 3. The RW-2000 also has slightly poorer imaging and instrument separation, though it has a thicker note weight and about equivalent micro-detailing.

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


Yinman 600 ohm

The Yinman 600 ohm earbud is an L-shaped pair which requires a nuclear reactor to drive, clocking in at a mind-boggling 600 ohm impedance and 87 dB/mW sensitivity. As such, the Yinmans require a more robust source to drive - we are looking generally at a desktop setup - which does limits its portability or utility.

The Yinman 600 ohm is much thicker in note weight with a huge bass. The Yinman's bass descends deeper, though it isn't as tight or textured, with mid-bass bleed. The Yinman 600 ohm is less extended in the treble, with a less zealous upper midrange.

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


CONCLUSIONS

The Alter Rider 3 is a TOTL-class earbud, which does most areas well. Tangibles like ergonomics, build and accessories are stellar; intangibles like tonality, timbre and technicalities are likewise outstanding.

Packing a neutral tonality, this earbud is very "reference" sounding, and presents the music as it is, without colouration. Timbral accuracy is organic, and technicalities are first-class. The midrange is quite addictive for acoustic instruments and vocals, and the well-extended yet fatigue-free treble harnesses fine resolution without needing to overly boost this region to cheat. Bass is literally fast and clean.




There are just a few minor nitpicks. Bassheads will find the Alter Rider 3 to be not their cup of tea, and the non-detachable cable may be a bone of contention for folks who might want to pair aftermarket cables or worry about future-proofing. The note weight is on the slightly thinner side, but perhaps pairing the Alter Rider 3 with a warmer source might offset this.

Nevertheless, for most other earbud enthusiasts, you will not be disappointed by the sonics of this special DIY bud. The Alter Rider 3 surely belongs in the conversation when it comes to choosing a TOTL flathead.

DISCLAIMER

I would like to thank Simgot for providing this review unit. The EA500 can be obtained here: https://www.linsoul.com/products/simgot-ea500 (no affliate links).




SPECIFICATIONS

Driver configuration: 10mm dual-magnetic-circuit and dual-cavity driver, utilizing 4th Generation DLC Composite Diaphragm
Frequency response: 20 Hz – 200000 Hz
Impedance: 16 Ohms
Sensitivity: 123dB/Vrms (@1kHz with red nozzle), 124dB/Vrms (@1kHz with black nozzle)
Cable: 2-pin, 0.78 mm, silver-plated OFC wire
Plug: 3.5 mm
Tested at $79 USD


ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of silicone ear tips (S, M, L)
- Cable
- Carrying case
- 2 pairs of tuning nozzles
- 7 pairs of red marker bands for tuning nozzle
- 7 pairs of black marker bands for tuning nozzle

The accessories are more than decent for a budget pair of IEMs, perhaps other than a dearth of eartip choices. There are no foam tips included, and only one type of silicone tips are packaged.



Said silicone tips are thankfully quite comfortable, though they make the sound signature a tinge shouty. If you have aftermarket eartips, please try tip-rolling, as this may improve the sonics to your preference.

The stock cable is made from silver-plated OFC. It is one of the better stock cables I've encountered in a budget pair, being quite supple and tangle-free. I appreciate that it has zero microphonics, and there's a chin cinch to give added stability. 2-pin cables are always my preference, as MMCX connectors may become loose with frequent cable changes, YMMV.




The provided semi-rigid ovoid case is made of PVC and is quite generic looking, but is very spacious to hold multiple contents. The innards have a soft covering, with webbing. There are 2 pairs of tuning nozzles, which we will go into further detail below, and there are additional coloured bands provided as spares.



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


BUILD/COMFORT

The EA500 housings are produced via high-density alloy metal melting/casting and CNC engraving. Indeed, the shells are really alluring and refined, featuring a mirror-like finish. Do take care of these babies, as the mirror-like finish can be easily marred by fingerprints, or worst still, scratches!



Comfort is top-notch. The housings are ergonomic, with no awkward protrusions. I've used them for marathon listening sessions with no issues. I encountered no driver flex on the EA500, but this is partially dependent on ear anatomy and/or type of eartips used, so YMMV.


ISOLATION

Like most DD IEMs, the EA500 is vented, and isolation is below average, though it should still be usable outside.




DRIVABILITY

I tested the EA500 with:
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 amp
- Creative Sound Blaster X5
- Hiby R3 Pro Saber 2022 DAP
- Shanling M0 Pro DAP
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Questyle M15 DAC/AMP dongle
- Apple dongle
- E1DA DAC/AMP dongle
- Colorfly CDA M1 DAC/AMP dongle
- Truthear SHIO DAC/AMP dongle
- Tempotec Sonata HD Pro dongle (BHD firmware)
- Smartphone

The EA500 is very easy to drive, though this set scales with juice, in bass tightness, soundstage and dynamics. Interestingly, the red nozzles are more difficult to drive than the black nozzles (probably more damping material), which we will talk about below.



SOUND & TECHNICALITIES

The EA500's selling point, is its versatility in view of the two tuning nozzles providing a subtly different flavour. On the black nozzle, the EA500 has a neutral bright lilt. Whereas there's a warmer Harmanish tone on the red one.



Graphs of the EA500, using an IEC711 compliant coupler. 8kHz area is a coupler artefact peak.

I'm glad to report that other aftermarket tuning nozzles (eg from Moondrop Kato and Hidzis MS5) are compatible with the EA500, so this increases permutations exponentially - please tinker to your heart's content! For the purpose of this review, we will be keeping to just the stock nozzles.

Back on point, the tuning nozzles really work, and are not gimmicks (cough cough, looking at you Moondrop Kato). Essentially, the black nozzles give a neutral bright analytical signature, with superior technicalities, albeit with a thinner note weight. However, the black nozzles can be somewhat fatiguing/shouty and sibilant in the treble.

In the big scheme of things, with the black nozzles installed, the EA500 is top-notch in technicalities, for a sub-$100 USD single DD set, with just the soundstage being on the more intimate side. Imaging is quite good, with stellar instrument separation, clarity, micro-detailing and transients noted.

The red nozzles on the other hand, provide a balanced, warmer, and more laid back soundscape, with minimal fatigue, though at the expense of bass tightness and technical chops. The technicalities with the red nozzles on board hits just above average when compared against other single DD peers. Note weight is thicker with these red nozzles.

Timbre on both nozzles is quite natural sounding, especially for vocals and acoustic instruments.

Bass on the EA500 is just a tinge north of neutral, and is mid-bass focused, with just slight mid-bass rumble/extension. The bass is lesser in quantity on the black nozzle, but it is tighter and cleaner on the this nozzle, with a fast and agile bass line heard with minimal mid-bass bleed. Once the red nozzle comes into play, the bass is slower, with some smearing, loss of texturing and mild mid-bass bleed noted on complex bass tracks.

The lower midrange is a tinge depressed. Upper mids are boosted on both nozzles - this region can be quite shouty, especially at higher volumes (Fletcher Munson curve) with the stock tips. Playing the EA500 at low to moderate volumes, or perhaps tip-rolling with other eartips may help mitigate this region thankfully.

The lower treble is boosted on both nozzle settings, more so on the black nozzle. There's quite decent treble extension and air on the black nozzle, with the red nozzle more conservative in the upper frequencies. The black nozzle does unfortunately result in a bit of splashiness with cymbals and high-hats, and sibilance is displayed. The red nozzles are sibilant-free and quite safe for treble sensitive folk.

Thus, if one desires something for critical listening and to analyze music, or if you are a treble-head, then the black nozzle would be the perfect option. For a more chill pleasant tuning (with still acceptable technicalities), with a thicker note weight and a more "balanced" profile, the red nozzles will be the go-to.


COMPARISONS

The EA500 will be compared against some other well-known DDs at the sub $100 region. Pure BA, planars and hybrids are left out, as the different transducers have their own pros and cons. Comparisons are done with the black tuning nozzles installed on the EA500.




TRI Star River

The Star River is a dual DD with tuning switches. On paper, there are purportedly 4 tuning options, but on independent measurements, there are only 2 tunings, so it is quite scammish.


Graphs of the TRI Star River, using an IEC711 compliant coupler. 8kHz area is a coupler artefact peak.

The QC on the Star River is questionable - on one of the housings on my set, the switch is almost stuck, and needs great force to be toggled - it probably won't survive a few more activations.

Dodgy QC and switcheroo shenanigans aside, the Star River features old school shouty V shaped tunings, with fatiguing pinna gain. Timbre is artificial and technicalities are below par.

The Star River is a disaster all round, and the Simgot EA500 is the undisputed gold standard for a tunable DD IEM at this price bracket. The Star River seems to be forgotten after the initial hype, but I'd stick my neck out and say the EA500 will arguably still be in the conversation for best budget DD IEM come end of this year.


HZSound Heart Mirror (original)

The Heart Mirror (original) is a neutral bright IEM, and also has a nice mirror-like finish. The Heart Mirror is notably more difficult to drive.

The Heart Mirror is more sterile sounding, and is more fatiguing/sibilant in the treble region, with less bass. In technicalities, the Heart Mirror have the upper hand, with better imaging, instrument separation, clarity and micro-detailing, though soundstage is better on the EA500.

Timbre is more organic on the EA500, with the Heart Mirror having a nasal whiff. The Heart Mirror does not have tuning options unlike the EA500, so versatility goes to the latter.


DUNU KIMA

The KIMA is a very safely tuned Harmanish single DD.

The KIMA has a wider selection of tips in the packaging, and also has quite good timbre, though the EA500 kills the KIMA in technicalities (soundstage, imaging, instrument separation and micro-details), and it isn't close.

The KIMA cannot be tuned.

At this price bracket, the KIMA is kind of a jack of all trades, master of none IEM, and is nothing too special.


Tripowin Olina SE

The Olina SE is Harmanish with a slightly more artificial timbre.

Technicalities wise, it is a wash, and these 2 budget kings are very close, the Olina SE has a slightly bigger soundstage and a tinge better imaging, though micro-detailing and instrument separation are a hair better on the EA500.

The EA500 has tuning options, unlike the Olina SE, and the Olina/Olina SE seems to have complaints of the nozzle mesh trapping moisture and causing issues, which isn't the case with the better build on the EA500.


Moondrop Aria 2021

The Aria 2021 is bassier (boomier) and less bright. The Aria 2021 lags behind in technicalities, with markedly inferior imaging, micro-details, instrument separation and clarity.

The Aria 2021 also has a metallic timbre, and it is quite outclassed by some modern day single DDs, not to mention the EA500. The Aria 2021 is also not tunable.


DUNU Titan S

The Titan S is a neutral bright IEM. It is a bit uncomfortable due to long nozzles.

The Titan S has a more rolled off sub-bass, and is a bit more biting in the lower treble. In technicalities, both pairs are quite technical at the sub-$100 range for a single DD, though the EA500 shades it a bit, and on A/B testing, the EA500 wins slightly in soundstage, micro-detailing and instrument separation.

The Titan S is not tunable, so the EA500 is a more versatile set.


Toneking Ninetails

Last but not least, we pit the EA500 against another tunable single DD cult-classic in the Toneking Ninetails.


Graphs of the Toneking Ninetails, using an IEC711 compliant coupler. 8kHz area is a coupler artefact peak.

The Ninetails are named after an ancient Fox Spirit which can shapeshift. Indeed, the namesake is quite on-point, as this IEM has front and rear tuning nozzles, giving a total of 9 permutations for tuning. Hence, it can be a basshead headache inducing monster, to something neutral, to even a treblehead's dream.

So in terms of versatility, the Ninetails is better, though it has a more uncomfortable fit due to a weird gourd shaped design. Timbre is very organic, in keeping with its single DD roots, but in technical chops, the EA500 wins hands down, with better bass tightness, faster transients, and superior imaging, instrument separation and micro-detailing.


CONCLUSIONS

The EA500 is one of the stand-out releases of this year so far. It easily punches above its weight, and excellently melds the 3 Ts of timbre, tonality and technicalities into a very pretty chassis. In addition, the EA500 is extremely easy to drive.



Unlike some other tunable IEMs that are gimmicks, the EA500's tuning nozzles work, and it can veer from a neutral bright technical animal to a more chill Harmanish smooth set, so the versatility is another feather in its cap. One is essentially obtaining 2 IEMs with the EA500 in view of this, so the value proposition is nothing to be sniffed at!

There are some minor nitpicks, such as a dearth of eartip options, and there are slight compromises in both tuning nozzles (the black may be slightly fatiguing/sibilant, and the red may not be the tightest in the bass or most technical), in addition to the EA500 not suiting bassheads, and having some shoutiness.

I would say these are small trade-offs in the big scheme of things, compared to the overwhelming benefits the EA500 brings to the budget CHIFI table. Indeed, I do think the EA500 will be a benchmark among budget single DDs for 2023, and will be the standard that new releases should aspire to meet, instead of the weekly hackneyed sidegrade spam that are forgotten after a couple of weeks.

The EA500 has my stamp of approval, and is definitely a pair to consider if you are intending to join the budget CHIFI bandwagon.

DISCLAIMER

I would like to thank Linsoul for providing this review unit. The Kiwi Ears Quintet can be gotten here (no affiliate links): https://www.linsoul.com/products/kiwi-ears-quintet




SPECIFICATIONS

• Driver configuration: 1 x 10 mm diamond-like carbon (DLC) DD, 2 x Knowles BA drivers, 1 x 5 mm MPT (micro planar transducer) driver, and 1 x piezoelectric driver
• Impedance: 32 Ohms
• Frequency response: 20 Hz - 30 kHz
• Sensitivity: 106 dB
• Cable: 2-pin 0.78 mm; 3.5 mm oxygen-free silver-plated copper cable
• Tested at $219 USD

ACCESSORIES

Apart from 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
- Semi-rigid carrying case



For a $200ish set, the accessories are arguably on the spartan side. A modular cable or even foam tips would not have gone unappreciated.

The wide-bore tips boost treble and soundstage, whereas the narrow-bore ones increase bass, though at the expense of a smaller soundstage.

The stock oxygen-free silver-plated copper cable is a touch disappointing. Though it is well-braided and of sufficient heft, it is quite tangly with microphonics present. There's a chin cinch for added stability during usage.

The semi-rigid zipper case with soft internals and webbing is a nice addition, to keep the Quintet with space for accessories.

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


BUILD/COMFORT

Fashioned from 3D-printed resin, the shells are quite solid. The front of the housing features silver faceplates with Kiwi Ears' logo and the "Quintet" word emblazoned on them.

The shells are on the larger side. However, they are light with a concha protrusion for added grip. There are no awkward protrusions on the inner aspects. Personally, with my average sized ears, I had no discomfort despite using the Quintet for hour long sessions.




I did not encounter driver flex, though this is partially dependent on individual ear anatomy and eartip choice, so YMMV. Isolation is above average, even with the Quintet having multiple vents on each earpiece.

A 2-pin housing is always welcome in my book, as I've had bad encounters with budget MMCX connectors that failed with repeated cable changes.


DRIVABILITY

I tested the Kiwi Ears Quintet with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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 extremely easy to drive, and amplification is not 100% essential. Weaker phones should adequately power the Quintet.


INTERNALS

The Quintet lives up to its namesake, as it packs 5 drivers per side.

- A 10 mm DLC DD pumps the bass frequencies.
- 2 Knowles BAs settle the midrange.
- A 5 mm MPT (micro planar transducer) driver handles the treble - this driver is smaller than a traditional full-sized planar, but is marketed to have similar low distortion and controlled noise floor. Classic BA or EST drivers may have treble roll-off after 8 kHz, but this MPT driver purportedly can extend to 14 kHz according to Kiwi Ears' data.
- 1 x piezoelectric driver takes care of the upper treble, to increase air and sparkle.


SOUND & TECHNICALITIES

Graph of the Kiwi Ears Quintet via IEC711 coupler. 8 kHz area is a coupler artefact peak.

The Quintet sports a balanced U-shaped tonality, without too much of a dip in the midrange. This tuning is quite stage monitor-like, though some consumers may find it a hair lacking in dynamics - if that is so, one might need to consider alternative tunings that are more "fun" or bass-infused. Otherwise, this U-shaped signature should fair well with most music genres out there.

This IEM is a technical masterpiece, boasting one of the best resolution for a $200ish range IEM. Imaging and instrument separation are well done, aided by an expansive soundstage to let instruments be layered well on a dark background. Micro-detailing and clarity are likewise excellent.

Unfortunately, timbre isn't a strong point - there are some metallic overtones when acoustic instruments come out to play, though vocals are still decently portrayed. Like most piezoelectric containing IEMs, there is a piezo zing heard in the higher treble at the tail end of notes, but by-and-large, the Quintet is probably a piezo-containing set with the least zesty ringing.

Note weight lies on the thinner side, though this gives the Quintet little flab, and hence allows rapid transients. Even though the Quintet crams an assortment of heterogeneous transducer types, coherency is surprisingly decent, with the DD keeping up well with the other drivers (which are traditionally touted to be faster).

The Quintet is sub-bass focused. The bass is north of neutral but not at true basshead levels. Sub-bass extends deep with authority and a visceral rumble. Bass texturing is up-to-the-mark, bass speed is rapid and there is minimal mid-bass bleed.

There's just a slight recession in the lower midrange. This region is very clear and transparent, assisted by the stellar technicalities, without bass bleeding. With an 8 dB ear gain, the upper midrange is very finely balanced, pushing vocals slightly forwards without shoutiness - this is a difficult equilibrium to get, and is an area where CHIFI frequently overboost or underdose, to their detriment.

The added piezos and micro planar drivers oblige in furnishing a very well-extended treble, with great air and sparkle. There's some sibilance now and then, and the treble may lie on the slightly spicier side for our treble-sensitive brethren. Treble perception however, varies on individual hearing health, ear anatomy, eartips and volume played at (Fletcher Munson curve).

Personally, I fall on the treble sensitive side, and can still tolerate the upper frequencies on this IEM. In my book, the Quintet boasts superior resolution without the typical cheat sheet of a steroid-infused treble to accord fake details. When used at very loud volumes (Fletcher Munson curve in action), the treble and piezo splashiness can be overemphasized, but at low to moderate volumes, the Quintet's treble is decently extended to equipoise resolution without veering too much to fatigue.


COMPARISONS

Comparisons were made with other $100 - 200ish range tribrids. Planars, single DDs and pure BA types were left out of the equation, as the different transducers have their pros and cons.

Geek Wold GK100

The GK100 is a hodgepodge of 2 BAs, 4 piezoelectric and 3 DDs. It is a neutral bright pair with lesser bass, and a more zealous (and fatiguing) upper midrange/lower treble.

The GK100 has an even thinner note weight and worse timbre than the Quintet. The GK100 sounds very sterile and overly analytical.

In technicalities, the GK100 is ahead in clarity and micro-details, though this is partially a function of a bigger treble/upper midrange boost. The GK100 however, has a smaller soundstage and worse imaging.

The GK100 comes with a modular Hakugei cable that has various terminations, whereas the Quintet's cable is non-modular.



NiceHCK NX7 MK4

The NX7 MK4 is the fourth iteration of the NX7 series. It has 4 BAs, 1 beryllium-plated DD and a seven-layer piezoelectric driver. The NX7 MK4 is a tunable IEM that has 3 different signatures - we will be installing the "balanced" tuning nozzle for today's comparison - so it is more versatile than the Quintet.

The NX7 MK4 has a thicker note weight, though it is a league behind in technicalities, with inferior soundstage, micro-detailing, imaging and instrument separation. In particular, the NX7 MK4 sounds claustrophobic and congested, with a very intimate soundstage. On this "balanced" tuning nozzle, the NX7 MK4 has less bass and treble extension too.



BQEYZ Winter

The BQEYZ Winter is a 12 mm PAR (polyarylate) DD + 11.6 mm bone conduction/piezo setup. It is neutral bright in tuning.

The Winter is much weaker in imaging, micro-detailing, resolution and soundstage.


CONCLUSIONS

Kiwi Ears took a risk by employing disparate driver types, but it seems that this has paid off in the Quintet. Loading 4 different driver types - a DD, 2 BAs, a micro planar and a piezoelectric transducer - coherency is surprisingly well-blended, and the various drivers perform their tasks pleasingly as individuals, yet combining seamlessly as a whole.

Like a string quintet featuring violins, violas, cellos and double basses, each member of the chamber performs their parts with aplomb - the tight bass and transparent midrange harmonize well, supplying a stage for the violinists to showcase their complex treble solos.



Build and easy drivability are plus-points, and the Quintet's all-round technical prowess is one of its crowning achievements. Soundstage, imaging and micro-detailing are excellent, without resorting to the usual CHIFI parlour trick of overly boosting the higher regions for "fake resolution".

The Quintet does have some flaws in timbre, and treble-sensitive folk may find instances of treble sibilance/spiciness. However, treble sensitivity is quite a subjective area (as detailed above). For my treble-sensitive self, I actually find this region to be quite tolerable - the Quintet confers good resolution without overly veering to harshness, when played at sensible volume levels. Some may also find this IEM to be on the boring or undynamic side, but that is a function of its frequency response, which actually may be someone else's cup of tea.

In closing, the Quintet is a technical powerhouse, yet without losing musicality (which is a common transgression that other overly technical competitors commit). For folks searching for a resolving diamond, the Quintet is one of the stand-outs at the competitive $200ish range to consider.

DISCLAIMER

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

The Cadenza 4 can be gotten here: https://letshuoer.net/products/letshuoer-cadenza4-wired-iem-hifi-earphones-in-ear-monitor (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs)
• Frequency response: 20 Hz - 40 kHz
• Impedance: 15 Ω
• Sensitivity: 102 dB
• Cable: 2-pin, 0.78 mm; silver-plated monocrystalline copper cable; modular plugs for 2.5 mm, 3.5 mm and 4.4 mm termination
• Tested at: $249 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
- 3 Modular plugs (2.5 mm, 3.5 mm, 4.4 mm)
- Hard carrying case

The accessories are quite generous for a midFI set, perhaps only lacking in foam tips.

We have 2 variations of silicone tips included. The wide-bore "vocal" ones boost the upper frequencies as per their name sake, adding air and soundstage; the narrow-bore "balanced" ones increase bass but compress staging slightly.




The stock cable is a 2-pin silver-plated monocrystalline copper one, and is one of the better cables I've encountered. It is well-braided, with minimal tangling, and comes with a chin cinch. Microphonics are minor, and the best part is that it comes with 3 modular plugs - 2.5 mm, 3.5 mm and 4.4 mm - thus ensuring that the Cadenza 4 can be paired with a myriad of balanced and single-ended sources.




Last but not least, we have a round hard screw-on carrying case. It is lined internally with a soft material, while the outside is as tough as a rock. Certainly a very useful case to protect the held contents.

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



Letshuoer has utilized Heygear 3D-printed resin for the shells of the Cadenza 4, and it is built solidly. The housings come in a white matte finish, with a CNC anodized aluminum alloy faceplate.

The Cadenza 4 is one of the best fitting IEMs, with smooth internal aspects and a concha protrusion for stability. It is quite light too, so this IEM can be used for marathon listening sessions without discomfort.



Despite being vented, isolation is solid, and this IEM can be used surely in noisy places. I didn't find any driver flex on my pair.


INTERNALS

The Cadenza is a 4 driver hybrid comprised of a 10 mm beryllium-coated dynamic driver + 3 balanced armature drivers (1 Sonion and 2 Knowles BAs).

These prized drivers are linked via 3 acoustic tubes with a 4-way crossover. Incidentally, these acoustic tubes are meticulously manufactured via 3D-printing, to a 50 um specification.


DRIVABILITY

I tested the Cadenza 4 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 relatively easily driven, but will scale a bit with juice.


SOUND & TECHNICALITIES


Graph of the Letshuoer Cadenza 4 via IEC711 coupler.

Tonally, the Cadenza 4 sports a refined neutral tuning with an element of sub-bass boost. It is uncoloured and "reference-like", and is a kindred spirit for purists who do not want something too V-shaped or flavoured in signature.

This is a sub-bass focused IEM, with quite deep sub-bass extension. Quantity is just a bit above neutral, so bassheads may need to look elsewhere. What the Cadenza 4 cedes in quantity, it makes up in quality, with a very textured and nimble bassline heard, with no mid-bass bleed.

The lower midrange is neutral, with excellent clarity and transparency, in view of no bass encroachment. This allows instruments to be easily layered on a dark background. This is a double-edged sword, as there is a bit of thinness in the lower mids, so those that want a more lush and dense note weight might need to consider alternatives. The upper mids are forwards but not overly shouty.

The Cadenza 4 has a resolving treble, without veering to sibilance or harshness. High-hats and cymbals are not splashy, although upper treble does have a roll-off.

There is minimal BA timbre, though as stated above, note weight is a bit thin. For folk who yearn for a tinge more bass/body to notes, do select the narrow-bore eartips rather than the wide-bore "vocal" ones.

In terms of technicalities, the Cadenza is quite a beast. Soundstage is expansive in width and height, with imaging and layering a strong suit. Micro-details are captured well, for something not overly steroid boosted in the treble. Transients are fast and crisp.


COMPARISONS

Comparisons were made against other midFI hybrids. Planars, single DD and BA types are omitted, as the different transducers have their own pros and cons.




AFUL Performer 5

The Performer 5 is a U-shaped set with more bass. However, the Performer 5's bass bleeds a lot, with a one-noted bassline heard, lacking all texture.

The Performer 5 has more marked BA timbre (though it has a thicker note weight). The Performer 5 is a league behind in technicalities, losing to the Cadenza 4 in soundstage, micro-details and imaging.


QOA Aviation

The Aviation is another U-shaped set with more bass quantity. However, the bass isn't as fast and clean as that on the Cadenza 4.

The Aviation has a thicker note weight and a more natural timbre. However, when it comes to technical chops, the Aviation is weaker in soundstage, micro-detailing and imaging.


Penon Fan 2

The Fan 2 is a warm neutral hybrid. It has a much lusher and thicker midrange than the Cadenza 4, with the Fan 2 furnishing a more euphonic soundscape as such. Timbre is a bit more natural on the Fan 2.

The Fan 2 is inferior in technicalities, with a less expansive soundstage and poorer layering/imaging.

The Fan 2 Achilles' heel is its very long nozzles, which may cause discomfort for users. The Cadenza 4 is much better fitting by miles.


CONCLUSIONS



The Cadenza 4 is a neutral-head's delight, presenting a rather uncoloured and "reference" soundscape. It has excellent technical chops - imaging and soundstage are aced in particular - and coupled with the transparent tone, comfortable fit and top-notch isolation, the Cadenza 4 would be a solid option for audio work, mixing and stage monitoring. The treble is not overly steroid-boosted, yet with resolution still decently retained. Bass is fast and clean, with a clear midrange.

In terms of externals and aesthetics, there isn't much to fault, with the Cadenza 4 being generously accessorized - with a hard case and modular cable - and this is combined with easy drivability and the aforementioned stellar comfort and isolation.

No doubt, some consumers might find the Cadenza 4's tonality overly bland, especially bassheads or those wanting a transducer for head-banging fun. Admittedly, the Cadenza 4's note weight is a bit willowy, but utilizing the provided narrow-bore tips or pairing with a warmer source may beef up its body to some extent.

In a sea of hackneyed Harmanish fare, the Cadenza 4 is a refreshing breath of change, and would certainly be a recommendation for purists, neutral-heads and folk looking for an audio tool for studio or stage work.

DISCLAIMER

I would like to thank the NiceHCK for providing this review unit.

The Himalaya can be gotten here: https://www.aliexpress.com/item/3256806504567632.html (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10 mm CNT dynamic driver
• Frequency response: 20 Hz - 28 kHz
• Impedance: 22 Ω
• Sensitivity: 110 dB/mW
• Cable: 2-pin, 0.78 mm; silver-plated OFC; modules for 2.5 mm, 3.5 mm and 4.4 mm terminals
• Tested at: $329 USD

ACCESSORIES



Other than the IEM, these are included:

- 3 pairs of NiceHCK 07 wide-bore silicone eartips (S/M/L/)
- 3 pairs of NiceHCK 08 narrow-bore silicone eartips (S/M/L)
- Plastic case for eartips
- Leatherette semi-rigid case for IEM
- Cable
- 3 modular terminals for 2.5 mm, 3.5 mm and 4.4 mm modules
- 3 pairs of tuning nozzles
- Magnetic clasp
- Cleaning brush

Other than the lack of foam tips, the accessories are fit for a king. This is definitely befitting of a midFI IEM packaging, and almost everything that a discerning audiophile should require is inside.




We have 2 variants of silicone tips provided. The narrow-bore NiceHCK 08 tips boost bass with some soundstage compression, whereas the wide-bore NiceHCK 07 tips increase treble and staging. It is a nice touch that these eartips even come with their own plastic insert case.


A silver-plated OFC cable graces the packaging. This is very well-braided and supple, with minimal microphonics or tangling. It comes with a chin cinch and 3 pairs of modular terminals for single-ended (3.5 mm) and balanced (2.5 mm and 4.4 mm) terminations. Unlike some other modular cables which are just plugged on, this stock cable has a screw-on sheathing to prevent the module from inadvertently dropping out, which may be potentially disastrous if a connected phone or DAP drops off it!




We have a black leatherette semi-rigid case, which is compression-proof. The innards have webbing and a soft lining to cushion the contents, with a zipper mechanism to close it.

NiceHCK has added some other nice goodies such as a magnetic cable clasp and a cleaning brush, the former to tidy up the cable, and the latter to remove debris from the IEM.




We also have a trio of tuning nozzles, which we will discuss about in the subsequent sections.

The rest of this review was done with the stock cable and stock NiceHCK 08 silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The Himalaya's housings are fashioned from aviation-grade titanium alloy, via 5-axis CNC machining. It is no exaggeration to say that they are literally built like tanks, and the Himalaya feels extremely solid and robust. With a matte grey finish, the shells are elegant yet practical - indeed, some prettier mirror-like shells may prove to be scratch or fingerprint magnets, unlike an unassuming matte faceplate.



Ergonomics are top-notch, and the earpieces are light yet comfortable, with no awkward protrusions to poke the ears.

I did not encounter any driver flex, and isolation is surprisingly above average.


TUNING NOZZLES/INTERNALS

The Himalaya's engine is a 10 mm CNT dynamic driver, which has front and rear cavities with coaxial dual-layer diaphragms, inlaid with N52 and N45 dual magnetic circuits. The 22 um ultra-thin CNT dome is clad with a CCAW copper aluminum voice coil.

Tuning nozzles and switches seem to be the flavour of the year, and the Himalaya comes with 3 pairs of tuning nozzles:

Graph of the NiceHCK Himalaya via IEC711 coupler. 8 kHz is a coupler artefact peak.

As above, the gold and black nozzles are pretty similar - and some might say, borderline gimmicky - in furnishing a Harmanish tone with some sparkle in the lower treble, due to a slight 4 kHz uplift. These 2 nozzles are kings in technicalities, providing fast transients and crisp tones, with a textured and nimble bass. Do note however, that these 2 tunings feature an 11 dB ear gain, so these may be borderline shouty, especially at louder volumes (Fletcher Munson curve).



For folks who want a more laid back upper midrange and lower treble, the blue nozzle is a match made in heaven, bestowing a more chill soundscape, though there is admittedly some blunting of resolution with this nozzle.


DRIVABILITY

I tested the Himalaya 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 relatively easily driven, and additional amplification is not 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold nozzle installed.

On this configuration, tonally, the Himalaya sports a balanced Harmanish tone, as discussed above.

Bass is just slightly north of neutral, and this is not a basshead IEM by any means. There is a sub-bass preponderance, however, there is just a tickle of rumble heard in sub-bass heavy tracks. Bass has good texturing, with a nimble and fast bassline heard, with not an ounce of mid-bass bleeding.

The lower midrange is just a tinge depressed, but is very transparent in view of no mid-bass encroachment. Upper mids have a 11 dB ear gain - perhaps reminiscent of its Himalayan namesake? - this pushes vocals forwards, but there may be some shout heard, especially with louder volumes (Fletcher Munson curve). Narrow-bore tips, lower volume playback and warmer sources may mitigate this area somewhat.

Treble continues on from the upper mids peak, with moderate extension. Sibilance is kept minimal, though we still have a decent sprinkling of clarity and resolution.

Timbre is natural, which isn't surprising for a single DD configuration, though note weight is slightly on the thinner side.

The Himalaya aces technicalities, amongst the midFI single DD contenders. Imaging, instrument and micro-details are very well portrayed. Soundstage is a highlight, with music going to beyond the ears in width and height.


COMPARISONS

The Himalaya will be compared against other midFI single DDs that are "tunable". Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.

The gold nozzle is used on the Himalaya for these comparisons.


DUNU Falcon Ultra


Graph of the Falcon Ultra via IEC711 coupler. 8 kHz is a coupler artefact peak.

The Falcon Ultra has 2 tuning nozzles, with the blue ones offering a Harmanish signature, compared to the gold nozzles, which decrease resolution but provide a laid-back darker tuning.

With the blue nozzles installed, the Falcon Ultra has a bit more bass, but with less shout in the upper midrange. It has a thicker note weight, and is less fatiguing in the upper-end.

The Falcon Ultra is behind in soundstage and micro-detailing, but is superior to the Himalaya in imaging. The Falcon Ultra is also easier to drive, and has a better accessory packaging, though it is a scratch and fingerprint magnet due to its mirror-like faceplate.

I would consider these 2 as sidegrades.


Oriveti OD200


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

The OD200 also has 2 tuning nozzles, veering between a very shouty neutral bright tonality (on the black nozzle), versus a laid back tuning on the silver nozzle.

Most users find the black nozzle unusable, due to an over-zealous 13 dB upper mids ear gain, so we will be doing the comparisons with the silver nozzles in-place.

On this setup, the OD200 sounds more placid and laid back, with a thicker note weight, and slightly better timbral accuracy. However, the OD200 pales in comparison in technicalities, having a more claustrophobic stage, weaker micro-details and sub-par imaging. The OD200 is also harder to drive.

The OD200 is in an inferior league in terms of tuning and technicalities, and I would recommend the Himalaya over it.


Simgot EA1000


Graph of the Simgot EA1000 via IEC711 coupler. 8 kHz is a coupler artefact peak.

OK, theoretically the EA1000 isn't a pure single DD. It has a passive radiator for the bass, but it functions mostly as a single DD, and is one of the midFI benchmarks, so definitely there will be interested readers for this comparison.

The EA1000 has 3 tuning nozzles, but all give a bright Harmanish tone, which is classical of Simgot's house sound.

The EA1000 has less bass and is brighter in the treble. It may be more sibilant as such, but the EA1000 has a bit less bite in the upper mids.

The EA1000 has a smaller soundstage, but has a hair better imaging, micro-detailing and clarity.

These 2 IEMs are sidegrades, with some variances in tuning.


CONCLUSIONS



The Himalaya should definitely be in the conversation when discussing midFI single DDs, keeping esteemed company with pace-setters such as the well-regarded Simgot EA1000 and DUNU Falcon Ultra.

In terms of non-sonic tangibles, the Himalaya has impeccable ergonomics, accessories and build, with easy drivability. Additionally, there are 3 tuning nozzles to vary the sonics.

On paper, 2 of the 3 tunings are very similar, so in essence, there are only 2 legit different tunings, between a brighter and resolving signature, and a more restrained and chiller tone; the latter has some compromise in resolution, but may be less fatiguing in the upper midrange.

On the brighter nozzles, this IEM has an expansive stage with competitive technical chops, with a transparent midrange and solid bass quality. It isn't one for bassheads in view of some sub-bass roll-off, and the upper mids may be a touch peaky at louder volumes (Fletcher Munson curve), but this can be tamed with tip or source choice, or even just swapping to the warmer tuning nozzle, or using it at lower to moderate volumes.

Overall, the Himalaya is certainly a competitive midFI single DD, and gets my recommendation.

DISCLAIMER

I would like to thank DUNU for providing the Falcon Ultra review unit.




SPECIFICATIONS

• Driver configuration: 10.7 mm lithium-magnesium pure alloy dome dynamic driver
• Impedance: 16 Ohms
• Frequency response: 5 Hz - 40 kHz
• Sensitivity: 108 dB
• Cable: DUNU DUW02 Pro 4-strand Litz Furukawa single-crystal copper silver-plated wire; MMCX, Q-Lock Lite modular 4.4 mm and 3.5 mm options
• Tested at $239.99 USD

ACCESSORIES



DUNU certainly didn't stinge on the accessories. This is one of the best buffet spreads I've seen in a $200ish USD set!

Other than the IEM, these are included:
- 3 pairs of "balanced" white silicone ear tips
- 3 pairs of "vocal" black silicone ear tips
- 3 pairs of Candy silicone ear tips
- 5 pairs of S&S (Stage and Studio) silicone ear tips
- DUNU DUW02 Pro cable
- Q-Lock Lite 4.4 mm and 3.5 mm modules
- 2 pairs of tuning nozzles (gold and blue)
- 6.35 mm to 3.5 mm adapter
- Cleaning brush
- Spare colored bands
- Cleaning cloth
- Soft pouch
- Semi-rigid zipper case

Wow, what a lengthy list of goodies! Of course generous accessories does not an IEM maketh - the sonics are more important in my book - but this set of accessories easily puts some higher priced competitors to shame.




While no foam tips are included, the eartip selection is truly bountiful.




The aptly named Candy eartips come in a colorful motif, and they give the deepest bass rumble of the provided tips. Isolation is also the best of the lot, though soundstage is compressed when these are installed. Probably an option for our basshead friends.

The S&S (Stage and Studio) tips come in a gel like material that is very grippy and firm. These tips are cylindrical and long, and they seem to be mid-centric focused, in boosting vocals (though with some decrease in bass). These tips are rather popular on forums, with audiophiles buying them individually at 12 bucks (eg https://hifigo.com/products/dunu-s-s) for their IEMs.

The black tips - christened "vocal" - tips are probably my favourite of the bunch. These are the least isolating, but provide the largest soundstage and the best technicalities. Lastly, we have the white "balanced" tips, which as per their namesake, are a midpoint of the various tips in sonics.

The Falcon Ultra is extremely tip-sensitive, I found that the Candy eartips for example made the sound veiled and compressed, and I had the best technical performance with the black "vocal" tips. Pairing the wrong tips with this IEM may prove detrimental to the sound, and I would highly advise to go thru all the various tips as an extremely important first step. As everyone's ear anatomy is different - eartips are very personal - do explore to see which eartips suit you, as they not only affect the sound, but also comfort, fit and isolation.




2 carrying accessories are present, a draw-string soft pouch, and a semi-rigid zipper case. The latter is quite huge, with inner webbing, and it can carry the Falcon Ultra plus a bunch of accessories with no sweat.




The provided stock cable - the DUW02 Pro - is a 4-strand Litz Furukawa single-crystal copper silver-plated wire. While it is well-braided, the cable is very tangly with some microphonics. There is a chin cinch and the distal terminals have R and L lettering to delineate the sides.

This DUW02 Pro cable has DUNU's patented Q-Lock Lite modular system, which allows users to link 4.4 mm and 3.5 mm modules on it; thus, pairing the Falcon Ultra with various single-ended and balanced sources should be a piece of cake, unless you use 2.5 mm sources (but no biggie getting an adapter if that is the case.) The modules lock in and out easily, and are very secure.

Other smaller details are not missed by the team. There is a cleaning brush and cloth, colored bands (to help identify the sides of the earpiece), and a 6.35 mm to 3.5 mm adapter, in addition to 2 pairs of tuning nozzles, which we will discuss about below.

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


BUILD/COMFORT

Sporting ultra (no pun intended) distinctive yet elegant mirror-like blue shells, with DUNU's logo adorning the sides, the Falcon Ultra is certainly a looker. The housings are solid, and are casted from high density stainless steel via CNC machining. The shells are similar to the predecessor (and limited edition) Vernus, just with a different hue.

On the flip side, the beautiful shells may be easily smudged or scratched, so be careful with these puppies!

Weighing in at 10 grams per side, the shells are very light and small in profile, with decent ergonomics. I had no discomfort whatsoever using the Falcon Ultra for extended listening sessions.

The Falcon Ultra is marketed to have a multi-vented acoustic design, to allow micro-airflow control. This is supposed to improve dynamics and bass response. With the liberal venting, I did not experience any driver flex. However, a consequence of this heavily vented design results in below average isolation, though this IEM is still usable outdoors.



Consumers who are anti-MMCX might gnash their teeth as this is a MMCX IEM, but thankfully, the plugs seem tight and lock well with a satisfying click, so this doesn't seem like the lower quality MMCX connectors that are commonly found in the budget realm.


DRIVABILITY

I tested the Falcon Ultra with the following sources:
- Apple dongle
- Cayin RU7
- Colorfly CDA M1 DAC/AMP dongle
- Creative Sound Blaster X5
- E1DA DAC/AMP dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Khadas Tone Board -> Topping L30 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, but amplification will improve soundstage, dynamics and bass tightness. The highish sensitivity does lead to hiss on some sources with poor noise floor control, but by and large, once music starts playing, the hiss is not too noticeable.


INTERNALS

The Falcon Ultra's engine is a 10.7 mm lithium-magnesium pure alloy dome DD, which is purportedly very rigid yet extremely light. It is covered in a carbon oxide crystal layer, with an independent soft suspension system surrounding the dome; this special damping removes unwanted resonances and bestows rapid transients in tandem with this unique DD material.

A ring-type magnetic assembly with high Tesla flux - which is CNC-milled to micron-level standards - provides ultra-low distortion levels.


TUNING NOZZLES

The Falcon Ultra's versatility is increased with the 2 tuning nozzles on offer.




The gold (brass) filters furnish a smoother and laid back L-shaped type tuning, with a thicker note weight and a darker treble. Technicalities like soundstage, instrument separation and micro-detailing are weaker with this nozzle installed. This setup is probably good for chilling and relaxing.



The blue (S316 stainless steel) nozzles change the Falcon Ultra into a traditional Harmanish set, with improved technicalities (eg soundstage, micro-detailing, transients, instrument separation). Note weight is thinner on this setup, though the Falcon Ultra is crisper, with a more extended treble. This configuration provides a more analytical and technical soundscape, in contrast to the sedate gold nozzles.


SOUND & TECHNICALITIES

The following impressions are with the blue nozzle installed (ie Harmanish profile with better technicalities):

With the well-balanced Harmanish tonality furnished on this blue nozzle, the Falcon Ultra is quite consumer friendly for most music genres out there. Timbral accuracy is organic, with natural vocals and correct acoustic instrument reproduction heard.

With regards to technicalities, the Falcon Ultra is solid for a midFI single DD. It boasts accurate imaging, with excellent layering and instrument separation. Soundstage is about average, but the accurate layering and imaging allows instruments to be easily pinpointed in a dark background. Transients are rapid and crisp.

Some single DDs veer too much to being "musical", sounding analoguish with sub-par technical chops, whereas, some go to the other extreme of being too technical and sterile/artificial sounding. The Falcon Ultra amalgamates technicalities and musicality adeptly, managing decent micro-detailing without artificially boosting the treble, which is what some CHIFI do to game the system and add "fake resolution".

The keywords to describe the Falcon Ultra, would be "EFFORTLESS" and "NATURAL".



The Falcon Ultra is a sub-bass focused, IEM with the bass north of neutral. Bass extends well, with a decent rumble. In terms of quality, bass texturing is well-done, with moderate speed and minimal mid-bass bleed.

There's just a slight depression in the lower midrange, allowing this area to be crystal clear, with good transparency on tap. With the previously alluded to excellent layering and imaging, the midrange is one of my favourite aspects; the mids are sweet and vocalists and instrumentalists can easily showcase their talents within this nice cocoon. The upper mids are well-dosed, being forwards without shoutiness (unless at very high volumes), which is an extremely difficult line to balance.

The Falcon Ultra's treble is smooth and safe for treble sensitive folk. Sibilance is kept minimal, with no splashiness of high-hats or cymbals. On the flip side though, trebleheads might want to look elsewhere. Nevertheless, there is still decent air and as discussed previously, acceptable resolution and micro-details are present without artificially boosting this region.


COMPARISONS

The Falcon Ultra will be compared against other midFI single DD pairs. Hybrids, planars, and pure BA IEMs were excluded from the comparison as the different transducer types have their own pros and cons.




Tanchjim Oxygen

No midFI single DD fight will be complete without bringing in the big kahuna: the legendary Tanchjim Oxygen. FWIW, the Oxygen has had many stealth revisions to tuning/drivers over the years, and my Oxygen is the first version with the original lauded drivers (which gives more sub-bass).


Graph of the Tanchjim Oxygen versus Falcon Ultra (blue nozzle). 8 kHz is a coupler artefact peak.

With the blue nozzle in place on the Falcon Ultra, both sets are Harmanish, though the Falcon Ultra has a bit more bass and upper mids, albeit the Oxygen is a bit airier and sparkly in the upper treble. Both sets have top-notch timbral accuracy in keeping with their single DD roots.

When it comes to technicalities, the Oxygen is slightly behind in soundstage, imaging, layering and instrument separation. Micro-detailing is about on par.

The Oxygen has a contentious fit due to short stubby nozzles, and isn't as well accessorized.

The Oxygen has been my midFI single DD benchmark pair for the past 3 years, but the Falcon Ultra has taken over this mantle, boasting better versatility (via source pairing cable modules and tuning nozzles), better fit and better technicalities.


Moondrop KATO

The KATO follows Moondrop's virtual diffuse sound field (VDSF) tuning philosophy (which is their in-house variant of the Harman curve). Theoretically, the KATO has 2 tuning nozzles, but they are extremely subtle and are borderline scammish.

The KATO has a more metallic timbre, with inferior technicalities (soundstage, instrument separation, micro-detailing, imaging). The KATO's bass isn't as tight, and it is more sibilant.


JVC HA-FW1800

The JVC FW1800 is a V-shaped wood dome single DD with wooden shells. This imparts a more natural timbre to this pair. The FW1800 has a more expansive soundstage, though it has weaker imaging, micro-detailing, edge definition and instrument separation.

The FW1800 has a thicker mid-bass, though this area bleeds and isn't as tight. It is also shoutier in the upper mids with an over-zealous upper midrange.

One important area to note: the FW1800 has a very bad fit due to angled stubby nozzles, and many consumers have issues in comfort and seal. The Falcon Ultra in comparison is way better in ergonomics.


Final Audio E5000

The E5000 is an L-shaped warm and bassy set with a thick and lush note weight. However, it is one of the hardest IEMs to drive, due to its low sensitivity at 93 dB. When underpowered, it is not a matter of volume, but the bass is flabby and one-noted, lacking texture. As such, the E5000 is a difficult IEM to source pair, unlike the Falcon Ultra, with many portable sources failing to power the former optimally.

The E5000 is darker in the treble but is a league behind in technicalities. Imaging, soundstage, micro-detailing and instrument separation are markedly weaker and the E5000 is probably more suited for laid back listening than critical analysis.


CONCLUSIONS



The Falcon Ultra is a midFI single DD with that special sauce - melding the 3Ts of tonality, timbre and technicalities pleasingly into an alluring shell - with impeccable accessories and ergonomics.

It is easily driven, and the added modular cable increases source options (for both balanced and single-ended gear). In addition, a protean versatility graces this set: the blue nozzle confers a well-balanced consumer friendly Harmanish tone, while the gold nozzle provides a more laid back and smooth profile.



Timbre is very organic, and other than soundstage, this IEM is quite solid in technicalities, compared to other midFI single DDs. In fact, the Falcon Ultra with blue nozzles has usurped the 3 year reign of the Tanchjim Oxygen as my go-to benchmark single DD, with the former providing better technical prowess, versatility and fit.

The Falcon Ultra is quite eartip sensitive, and getting an optimal eartip seal is essential to showcase its great sound. Do tip-roll with the vast array of tips to get the optimal fit! Some other nitpicks are the slight hiss noted with some poorly implemented sources, and the average soundstage.

Other than outlier bona fide trebleheads, the Falcon Ultra will probably find a place in a single DD lover's collection (or rather, ears!)

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 Simgot for providing this review unit.

The EA500LM can be gotten here: https://www.linsoul.com/products/simgot-ea500-lm (no affliliate links).




SPECIFICATIONS

• Driver configuration: Lithium-magnesium diaphragm dynamic driver
• Impedance: 21 ohms
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 123dB/Vrms (@1kHz gold/red nozzle), 123dB/Vrms (@1kHz silver/red nozzle), 124dB/Vrms (@1kHz silver/black nozzle)
• Cable: 2-pin, 0.78 mm; 3.5 mm termination. Silver-plated OFC wire
• Tested at: $89.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case
- 3 pairs of tuning nozzles
- Spare silicone rings

The accessories are decent for a sub-$100 set, perhaps other than the lack of other types of eartips.




The silicone eartips are serviceable from a sonic and comfort perspective, though it would have been nice to have a wider selection of tips, be it foam or silicone ones.




Simgot has provided a silver-plated OFC cable, sheathed with anti-oxidation PVC. This is well-braided but is somewhat tangly. Thankfully, there's a chin cinch for added grip.




There's an ovoid zipper leatherette case, with inner webbing to store accessories, and a bunch of spare silicone ring identifiers.




Lastly, we have 3 pairs of tuning nozzles, which we will go into further detail below.




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 EA500LM is fashioned from CNC etched alloy. It comes in a tear-drop shape design, with a mirror-like finish. While this is elegant, it may be a fingerprint or scratch magnet.

The shells are light and ergonomic, and are designed from accumulated data of 3D ear models. Indeed, comfort is top-notch for long listening sessions, with no awkward protrusions to poke the ears.

I did not find any driver flex on my pair. Isolation is above average in view of the vented acoustics.


TUNING NOZZLES/INTERNALS

The EA500LM - as per its "LM" namesake - utilizes a lithium-magnesium diaphragm dynamic driver.

Tuning nozzles are all the rage nowadays, and unexpectedly, this set comes with 3 pairs of tuning nozzles. Unlike other "tunable" IEMs that are gimmicky with minimal changes in tonality, I'm glad to report that the tuning nozzles of the EA500LM do contribute to some tonal differences:

Graphs of the Simgot EA500LM via IEC711 coupler. 8 kHz is a coupler artefact.

Simgot is known for its bright Harmanish house sound, and the black/silver and silver/red nozzles are tuned in the same vein as this stock house sound, bringing a thin but resolving and transparent soundscape, with solid technicalities to the table.

For the pinna-gain sensitive, the gold/red nozzle is a better match, toning down the upper mids and lower treble as per the graphs above, though with a slight compromise in resolution. This gold/red nozzle combination provides a thicker note weight than the basic Simgot tuning, with more meat to the bones.

The first 2 nozzles will suit the trebleheads and vocal lovers, with the silver/red nozzle being kind of a midpoint compromise if you want something more analytical but less fatiguing. Personally, I am not a fan of the overly bright silver/black config, and mostly utilized the more laid-back gold/red setup.


DRIVABILITY

I tested the EA500LM 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, and additional amplification is not 100% required.


SOUND & TECHNICALITIES



The following impressions were done with the gold/red nozzle installed.

On this setup, the EA500LM has a Harmanish tonality that is quite crowd-pleasing. Simgot has taken on feedback from their previous IEMs, to shave off a few dB from the zealous upper mids of their house sound with this gold/red tuning nozzle.

Bass is focused at the sub-bass, though there is a sub-bass roll-off. This IEM is hence not for bassheads. While there is no mid-bass bleed, the texturing can be one-noted at times, though it is relatively speedy during complex bass movements.

The lower midrange is clean and transparent, with just a touch of mid-bass warmth. With a 9 dB ear gain on the gold/red nozzle, the upper mids are forwards but relatively shout-free, which is a very tough line to balance. The other 2 nozzles have a more zealous upper midrange, and I find the gold/red one to be the most restrained of the lot for this frequency band.

Treble is moderately extended, though this isn't the most airy of IEMs. We have decent resolution and clarity retained, though not veering to too much fatigue. Sibilance is just slight, with no splashy high hats or cymbals.

Timbre is realistic and authentic, in keeping with its single DD roots. No complaints here.

The EA500LM is a really solid in technicalities, for a sub-$100 USD single DD. Soundstage is wide, with accurate imaging and solid layering (soundstage height and depth are above average). There's a good sprinkling of micro-details and fast transients noted.


COMPARISONS

The EA500LM will be compared against other sub-$100 USD single DDs. Planars, multi-BAs, and hybrids are left out as the different driver types have their pros and cons.
The gold/red nozzle is used on the EA500LM for the comparisons.


Simgot EA500 (original)


Graphs of the Simgot EA500LM versus OG EA500, via IEC711 coupler. 8 kHz is a coupler artefact.

The OG EA500 has only 2 tuning nozzles, and both have less sub-bass than the EA500LM's 3 tuning nozzles.

When compared to the gold/red nozzle on the EA500LM, the EA500 is a tinge thinner in note weight, with a less natural timbre. The EA500 has slightly better micro-detailing, but loses in soundstage and bass extension. The EA500 is easier to drive.

In the big scheme of things, considering the EA500LM is about 10 bucks more than the OG EA500, it is an incremental upgrade and not a night-and-day different IEM. You get a slightly more refined IEM with an extra tuning nozzle in a way, but for existing owners of the OG EA500, perhaps there is not great value proposition to procure the newer EA500LM.


Oriveti OD100

The OD100 is a brighter IEM - it is shoutier in the upper mids, more sibilant in the treble, with less bass. Overall, this contributes to the OD100 sounding more fatiguing than the gold/red nozzle config on the EA500LM.

Timbre is worse on the OD100, and it is technically a league behind, with the OD100 having inferior micro-detailing, soundstage and layering.

The OD100 can be worn cable down or over-ears, so fit is a bit more versatile, but it is has no tuning nozzles to vary the tonality.


Moondrop Aria 2

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

Tonally, the Aria 2 has less bass, but is a tinge brighter. It hence sounds more sterile. Technically, the Aria 2 is slightly poorer, with a smaller soundstage and weaker imaging/micro-detailing.


CONCLUSIONS



It is rare to find a budget IEM that does well in most departments. Verily, most budget gear have compromises in some form or other, but the EA500LM manages to do well in the 3Ts of tonality, technicalities and timbre.

Accessories, aesthetics and build are good for the coin, and it is easily driven. There are 3 tuning nozzles to spice up tonal options, from a bright analytical-focused tuning to a slightly tamer Harmanish fare, to suit different ear sensitivities and preferences. Timbre is impeccable, and technicalities as alluded to, are solid. Soundstage width and imaging are really well done, even when compared against other single DD sets under a 100 bucks.

Well nothing is perfect, and there are admittedly some small nitpicks. The bass perhaps could do with better texturing, and the black/silver nozzle may be overly fatiguing for all but the most diehard of trebleheads.

Nevertheless, as an overall package, the EA500LM is certainly multifaceted and polished, and would be one of my go-to recommendations for a high-performing sub-$100 single DD set.

DISCLAIMER

I purchased the BQEYZ Wind at a discounted price from Aliexpress.

It can be gotten here: https://www.aliexpress.com/item/1005006042191996.html (no affiliate links).




SPECIFICATIONS

Driver configuration: 10 mm LCP-composite dual-cavity dynamic driver + 10 mm bone conduction driver
Impedance: 38 Ω
Frequency response: 5 Hz - 40 kHz
Sensitivity: 113
Cable: 2-pin, 0.78 mm; single crystal copper-plated silver cable; choice of 2.5 mm, 3.5 mm or 4.4 mm terminals
Tested at $239 USD


ACCESSORIES



Other than the IEM, these are included:
- 1 pair of foam tips
- 3 pairs of "balanced" silicone eartips (S/M/L)
- 3 pairs of "reference" silicone eartips (S/M/L)
- 3 pairs of "atmosphere" silicone eartips (S/M/L)
- Cable
- Cleaning brush
- Carrying case

The accessories are really generous for the price, no complaints here perhaps other than the lack of a modular cable.




A variety of eartips are included. The foam tips come in their own little case, and they provide the best isolation and tame treble (though with a slight compression of soundstage).

3 types of silicone tips are present. The "reference" tips have the widest bore and boost the upper frequencies the most, with an increased soundstage. The "atmosphere" tips have the narrowest bore and provide the greatest bass. Lastly, we have the "balanced" tips, which are a midpoint of the above 2 silicone tips.




A 2-pin single crystal copper-plated silver cable is included. It is very well braided and of sufficient heft. There's a chin cinch for added stability, albeit there's some smattering of microphonics. During ordering, consumers can opt for a 2.5 mm, 3.5 mm or 4.4 mm termination, depending on the source that you use.




To complete the packaging, we have a cleaning brush to remove debris, and a semi-rigid leatherette zipper case. The innards of the case are lined with a velvety material and webbing to protect the contents, whereas externally, it is hardy enough to survive a drop or compression.

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



The Wind's housings are fashioned from 5-axis CNC-machined aluminum alloy. The earpieces are then sandblasted, undergoing anodized oxidation to give a smooth finish. One can choose between a silver or a blue-hued shell. Build is solid and robust. They come in a teardrop-shaped design with some slits along the shell, to mimic a "wind" motif.

Ergonomics are impeccable - the earpieces are extremely light, with no protrusions on the inner aspect to poke the ears. I did not encounter any discomfort despite using them for marathon listening sessions.



2-pin connectors are always welcome in my book, as I've encountered MMCX failure more often in my IEM journey, especially with frequent cable swaps.




The bone conduction driver is housed on the inner part of the shell (see circles above), and this should ideally contact the concha of the ears to transmit soundwaves and add heft to the lower frequencies. As we will read below, this bone conduction driver is not a gimmick unlike some other purported bone conduction tech in other IEMs where there is no contact with the skull or ears.

The Wind utilizes a semi open-backed design, with multiple vents gracing each earpiece. This is a double-edged sword, as it furnishes a very expansive soundstage, but at the expense of isolation. Thus, the Wind is not the best option for noisy environments - or ironically, in windy places as per its namesake - as the outside noise will get in. One will not be getting good sound as such, and users might even be tempted to jack up the volume to compensate for this, which is detrimental to hearing health in the long-run.

I did not encounter any driver flex on my pair.


DRIVABILITY

I tested the Wind 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 modestly easy to drive from weaker sources, though you might need amplification for the Wind to truly flourish - juice provides better bass tightness, dynamics and soundstage.


SOUND & TECHNICALITIES


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

Tonally, the Wind can be described as warm neutral. Although the graph above appears to hint at a neutral bright sound, bear in mind that conventional couplers may not adequately pick up the bone conduction vibrations of the lower frequencies.

This IEM is sub-bass focused. Bass is just north of neutral, but not at legit basshead levels. The sub-bass descends well with a visceral rumble, contributed by the bone conduction tech. On some tracks where the bass hits low, it is almost subwoofer like! The bass is on the nimble side, with no mid-bass bleed, but texturing is not class-leading and may smear slightly.

The Wind will be a great option for midrange-lovers. The lower mids are very transparent and clear, with no big bad bass encroachment. Instruments and vocals are superbly layered and easily pinpointed on the canvas of a dark background. Upper mids are forwards without veering to much to shouty territory, allowing vocals to be showcased without being too fatiguing.

The Wind has moderate treble extension, but isn't a trebleheaded set. While it isn't dark, the amount of sparkle or air might be lacking for trebleheads. Sibilance is kept to a minimum, without much splashiness in cymbals or high hats.



Timbral accuracy is excellent. Woodwinds have an airy tail to notes, brasses have metallic overtones, and strings have their typical bowed signatures heard. Indeed, timbre freaks will have a field day, and this is one of the more natural sounding IEMs I've tried.

The Wind handles technicalities like a breeze. The aforementioned semi-open design contributes to an expansive soundstage in all 3 dimensions. The excellent layering and instrument separation also contributes to a spacious soundscape, with zero claustrophobia. Imaging is acceptable for the price, and micro-details are more than decent, considering it isn't a very treble-boosted set.


COMPARISONS

Comparisons were made with gear residing around the $200 USD range.




BQEYZ Winter

The Winter is the predecessor in BQEYZ's stable, and also utilizes a DD + BC setup. However, the Winter's BC driver supposedly handles the upper frequencies, in contrast to the Wind's configuration.

The Winter is lighter in the bass, with greater treble extension. However, the Winter can come across as more fatiguing, with sibilance present. The Winter has a more metallic timbre, but it has slightly better micro-detailing and imaging, though the Wind has a larger soundstage.


Binary X Gizaudio - Chopin

The Chopin is a U-shaped hybrid. The Chopin is sub-bass focused, but has a huge mid-bass scoop out, which results in an anemic lower mids/mid-bass. Music sounds sterile with a thinner note weight as such, resulting in a more "boring" sound compared to the emotional Wind.

The Chopin has BA timbre, and sounds less natural in this department. The Chopin has a more extended treble, though with a bit more sibilance.

In technicalities, the Chopin has a faster and cleaner bass, with better imaging and micro-details. However, it has poorer soundstage compared to the Wind.

Of note, the Chopin has a low impedance of 12 ohms, and it may not synergize well with sources with high output impedance, based on the rules of eights. Anything higher than 1.5 ohms in the source output impedance might skew the frequency response. The Wind is less source agnostic, but requires more power to drive.

The Chopin has a more awkward fit and isn't as ergonomic.


AFUL Performer 5

The Performer 5 is a U-shaped pair. It doesn't fare well in bass texturing too, but has even worse mid-bass bleed with a slower bass. The midrange isn't as transparent, with an artificial BA timbre noted on the Performer 5.

Technicalities are a step behind on the Performer 5. It has inferior soundstage, imaging and instrument separation.


CONCLUSIONS

In the Wind, BQEYZ has created a literal breath of fresh air in the highly-competitive CHIFI scene. The Wind does not need to resort to the hackneyed overused party tricks like Harman curves or waifus to get its sound across. Listeners will be greeted by a very organic sounding set, with superb tonal balance.

The warm neutral signature, with a sub-woofer like bass (courtesy of the bone conduction tech), is pretty unique, coupled with a transparent midrange to die for.

Granted, it isn't the most sparkly or treble-boosted in tuning, and perhaps extreme trebleheads might need to look elsewhere. However, most others (including treble sensitive folk) will appreciate the treble dosing, balancing a fine line of resolution without fatigue.

Additionally, accessories, build and ergonomics are exemplary, and technical chops are also solid. The open-back design confers a great soundstage, and layering is a highlight on a dark background. This open-back concept does sadly contribute to penalties in isolation, and arguably the Wind is not the best IEM to bring to a noisy environment.

Other nitpicks are a bass lacking in texture, and the somewhat power-hungry requirements. While it can be powered off weak sources, one is probably not getting the optimal sonics that way, and amplification is highly recommended.

To conclude, the Wind is one of the better purchases I've made this year, I really appreciate the special melding of an organic timbre, a neutralish signature with the positive quirks of a bone conduction driver, and the dependable technicalities. It is a wind of change for the better, and is something noteworthy amongst the banal weekly Harmanish releases that don't give any value-add.

DISCLAIMER

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

The Celest Relentless can be gotten here: https://hifigo.com/products/kinera-celest-relentless (no affiliate links).




INTRODUCTION

For folks that are interested in a little ancient Chinese mythology, the "Relentless" namesake used for this IEM is actually from a touching story of a legendary guardian bird:



SPECIFICATIONS

• Driver configuration: 8 mm dynamic driver + 2 x 29689 balanced armature drivers + 4 x 10012 balanced armature drivers
• Frequency response: 20 Hz - 20 kHz
• Impedance: 27 Ω
• Sensitivity: 105 dB
• Cable: 2-pin, 0.78 mm; 5N copper silver-plated cable; modules for 3.5 mm and 4.4 mm terminals
• Tested at: $169.99 USD

ACCESSORIES

Other than the IEM, these are included:

- 3 pairs of Celest 221 "vocal" silicone eartips (S/M/L/)
- 3 pairs of Celest 608 "balanced" silicone eartips (S/M/L)
- 2 pairs of foam tips (M/L)
- Cable
- Modular plugs for 3.5 mm and 4.4 mm
- Metal bookmark
- Carrying case
- Cleaning brush

For a $100ish USD set, the accessories are very generous; essentially, everything that an audiophile would require is covered.




The black Celest 221 tips are wide-bore and they boost treble and soundstage. The red Celest 608 are narrow-bore, and these increase bass, though with some stage compression. The foam tips provide the best isolation, albeit with a attenuation of the treble frequencies.




The stock copper silver-plated cable is well-braided and tangle-free, with minimal microphonics. There's a chin cinch for added grip. It comes with options for 3.5 mm (single-ended) and 4.4 mm (balanced) modules, depending on your source preference. A nice touch is that the distal terminal has a screw on design, so that the module doesn't inadvertently drop out during usage, which is something not uncommon in flimsy modular cables which are just plug-on.




The metal bookmark, as detailed above in this tragic story of the guardian deity bird, dovetails (no pun intended) beautifully with the Relentless moniker.




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

The rest of this review was done with the stock cable and stock narrow-bore Celest 608 silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The housings are fashioned from HeyGears 3D-printed dermatologically-friendly resin. The faceplates are individually hand-painted, so each earpiece is unique! These faceplates showcase feathers of the guardian bird, coupled with waves of the tumultuous East China Sea, as per this storied narrative.



The shells are semi-transparent, allowing consumers to visualize the acoustic tubing and drivers!

While on the larger side to accommodate 7 drivers per shell, the housings are light, and I had no issues using the Relentless for longer listening sessions. The inner aspects are smooth with no awkward protrusions.



I did not encounter any driver flex on my pair. Isolation is slightly above average, and this IEM can be used in noisy places without much penalties.


INTERNALS

The Relentless is a 7 driver setup, comprised of the following configuration:

• 1x 8 mm dynamic driver takes care of the bass and midrange.
• 2 x 29689 BAs settle the lower treble
• 4 x 10012 BAs handle the upper treble

DRIVABILITY

I tested the Relentless 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 has moderate drivability requirements. It is not an extremely easy IEM to drive, and will scale slightly with amplification, in terms of headroom and dynamics.


SOUND & TECHNICALITIES


Graph of the Celest Relentless via IEC711 coupler.

Tonally, the Relentless sports a bright V-shaped tuning. It promises an exciting listening session, melding a big fun bass with a well-extended and resolving treble. This is in contrast to Celest's usual darker house sound.

This is a mid-bass focused set, with bass north of neutral, but just a bit shy of bona fide basshead levels. There's decent sub-bass rumble and an impactful mid-bass. The bass is surprisingly textured, with nimble speed and just a slight smattering of mid-bass bleed.

As per its V-shaped signature, the lower midrange is recessed to some extent, though thankfully there is no huge bass encroachment, so this frequency band remains relatively transparent. Upper mids hit about 8 dB ear gain, and vocals are forwards without pushing into overt shouty territory.

The Relentless has a bright treble, furnishing lots of resolution and clarity, with lots of air. This IEM will be a blessing for trebleheads for sure, though we do run into some instances of sibilance. Thankfully, for the treble-sensitive amongst us, this region can be tamed somewhat with the foam or narrow-bore silicone tips, in addition to perhaps using a warmer source or not playing the Relentless at high volumes (Fletcher Munson curve).

There's just a minor whiff of BA timbre, and for a set that packs so many BAs, timbral accuracy is surprisingly decent. Note weight is a tinge on the lighter side, but by and large, acoustic instruments and vocals sound quite natural (don't be expecting single DD levels of timbre of course).

Technical chops on the Relentless are quite something, with a huge soundstage, well-layered instrument separation and superb micro-detailing. The Relentless has one of the better soundstages for a $100ish IEM, with sound projecting quite far beyond the ears in width, with good depth and height to boot. Imaging is relatively accurate and transients are crisp.


COMPARISONS

The Relentless will be compared against other midFI hybrids. Single DDs, multi-BAs, and planars are left out as the different driver types have their pros and cons.


Binary X Gizaudio Chopin

The Chopin is a U-shaped set with a mammoth lower midrange/lower mids scoop out. Thus, the Chopin sounds much thinner and anemic in this area, with an artificial metallic timbre.

In technical aspects, the Chopin has a more claustrophobic soundstage, with weaker imaging and micro-detailing. The Chopin also has unique tear drop shaped shells which may possibly pose fitting issues.


Penon Fan 2

The Fan 2 is tuned warm neutral. It has a linear bass (with less quantity), though it has a thicker and lusher midrange than the Relentless. The Fan 2's treble is blunted, with some loss of resolution. The Fan 2 is however, more sedate and less sibilant in the treble. Of note, the Fan 2 is inferior in soundstage, micro-detailing and imaging.

Many consumers complain about fitting issues with the Fan 2's long nozzles, so this might be a potential deal-breaker.




CONCLUSIONS

The Celest Relentless is one of the better $100ish hybrids one can get their paws on as of the time of writing. It compares very favourably against some similarly priced hybrid rivals, beating them in technicalities.

Segueing seamlessly into this poignant and stirring chronicle of the legendary guardian Relentless bird, this IEM has well-matched - and generous - accessories, elegant faceplates and comfortable ergonomics.

Bestowing a bright V-shaped signature, the Relentless has excellent technical chops, in particular micro-detailing and soundstage are the stars of the show. The bass has a good mix of quantity and quality, with a very resolving and extended treble making this the perfect set for trebleheads and detail-freaks. To top it off, timbre is surprisingly natural for something containing so many BAs.

It may be a tinge spicy for our treble-sensitive friends, but thankfully the treble region can be mitigated with foam tips or warmer source pairing or even playback at non-high levels (as per the Fletcher Munson curve). The midrange is a wee bit depressed - as per V-shaped style tuning - so mid-lovers might want to look for something else that beefs up the lower midrange more. However, it has to be said, the Relentless is not as anemic-sounding as something like the Binary Audio Chopin, which has a way more concave lower-midrange.

All things considered, the Relentless gets my recommendation for folks who are looking for a solid entry-level V-shaped midFI hybrid, which is beautiful on the inside and outside.

DISCLAIMER

This unit was purchased at a discounted price from Aliexpress.
It can be gotten here: https://www.aliexpress.us/item/3256805893537021.html (no affiliate links).
It retails at $129.99 USD




SPECIFICATIONS

DAC: Cirrus Logic CS43198 chip
Weight: 407g
Dimensions: 147 x 133 x 32.3mm
Gain settings: low, medium, high
Max sampling rate:
384kHz-32bit/DSD256 Native 16/24/32bit (USB DAC)
192kHz-24bit (Coaxial)
96kHz-24bit (Optical)
Adaptive impedance: PO: 8 - 150Ω; Balanced: 8 - 350Ω
Input: USB Type-C, optical, coaxial
Output: Single-ended 6.35mm (or 3.5mm with adapter), balanced 4.4mm, RCA, coaxial out
Power supply: DC 12V/2A
Output power (single-ended): L+R≥720mW +720mW (16Ω, THD+N＜1%); L+R≥520mW +520mW (32Ω, THD+N＜1%); L+R≥60mW+60mW (300Ω, THD+N＜1%). Balanced: L+R≥570mW+570mW (16Ω, THD+N＜1%); L+R≥1400mW+1400mW (32Ω, THD+N＜1%); L+R≥250mW+250mW (300Ω, THD+N＜1%)
Output impedance (single-ended):＜1.2Ω; Balanced:＜2.4Ω
Crosstalk (single-ended): ≥71dB; Balanced: ≥106dB
Peak output voltage (single-ended): 12Vp-p; Balanced: 24.5Vp-p
SNR (single-ended): ≥123dB (A-weighted); Balanced: ≥123dB (A-weighted)
THD+N & Noise (single-ended):＜0.00059% (1kHz/-8.1dB@32Ω); Balanced:＜0.0010% (1kHz/-14.5dB@32Ω)



For the measurement-inclined, you can go to this link (https://www.fiio.com/k11_parameters) to check out finer details on the specs, measurements and data of the K11 during field tests.


ACCESSORIES



Other than the K11, these are included:
- 6..35mm to 3.5mm adapter
- 1 x USB-A to USB-C cable
- Power plug (DC 12V 2A)



Perhaps only Apple users amongst us might need to source for an adapter, but otherwise, out-of-the box, the provided accessories should be more than serviceable for Android or Windows users.


DESIGN/FUNCTION

During ordering, one can opt for a silver or black K11. This DAC/Amp comes in a squarish design, and is made of aluminum alloy Build is very solid.



Weighing in at slightly above 400g, and measuring 147 x 133 x 32mm, the K11 is very sleek and light. I like that it can be put flat, stacked on other sources, or can also be stood upright, if there is not enough space at the desk. Thus, this device is pretty space-conserving.

The front of the device contains a 6.35mm (single-ended) and 4.4mm (balanced) port. One can utilize the 3.5mm to 6.35mm jack if you need to pair a 3.5mm terminated transducer with the K11. The front also has a gorgeous LCD screen and volume knob.



The volume knob performs many roles. Other than fine-tuning the volume, it also functions as a:
- power button for turning on/off the K11
- accessing the settings menu
- line-out/PO toggling function

There is a haptic click felt with each turn of the knob, and I liked that this device has very fine levels of volume control with this knob.

On the LCD screen, one can glean information such as sampling rate, volume, gain and output/input mode.


All the edges of the K11 are rounded with no sharp protrusions.



The K11's base sports anti-slip rubberized feet.



On the back of the DAC/Amp, we have the power supply, USB-C, optical, co-axial and RCA ports. The K11 has multiple inputs and outputs, to pair with most appliances upstream and downstream.



The K11's top has an RGB lighting.



In the settings menu, one can play with options such as gain settings, DAC filters (there are 6 available) and lighting. Specific to the last department, one can modify the colour, brightness and flashing status of the RGB lights:


Please play with the various DAC filters to see what suits your needs.

Of note, the K11 utilizes 16 low-noise LDOs, fed by a 12V external power supply, which Fiio says contributes to better audio quality.

Indeed, I did not get any hiss on the K11 on both the balanced and single-ended ports, even on the usual high sensitivity suspects. Some DAC/Amps suffer from a huge "pop" during insertion or removal of gear, and I'm glad to report that the K11 does not have this issue.




SOUND

I'm not an Apple user, but with various Windows laptops/PCs, smartphones and DAPs, the K11 was recognized and paired with ease. For Windows 10 and 11 users, this device is plug-and-play without the need to install drivers.

Sadly, the K11 does not have any pre-amp or Bluetooth functionality.

This baby can provide these power specs via 3 gain settings:
Single-ended can hit up to 520mW @ 32ohm or 60mW @ 300ohm.
Balanced can go up to 1400mW @ 32ohm, or 250mW @ 300ohm.

Indeed, the balanced 1400mW juice on tap should be able to power most gear out there.



My usual acid tests for source testing include these 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)

When underpowered, it is not a volume issue, but the above transducers sound undynamic, untextured and one-noted in the bass. Happily, the K11 handled all these with aplomb with additional headroom to spare. No worries about driving tough customers here!

Big power sometimes comes with comprises, but I'm glad to report that there is no hiss heard here with fussy IEMs.

The K11 furnishes an uncoloured neutral tuning. It is very "clean" sounding, and lets the connected transducer do the talking. However, folks who want a more lush tone to notes, or a warmish analogue signature might need to look elsewhere. Timbral accuracy is quite natural.

Bass is neutral but extends deep. The midrange is very transparent on a dark background. Treble is relatively smooth and isn't as glaring or fatiguing as some other amps that overly boost this region for "fake clarity".

For the price, it has solid technicalities. Soundstage is above average in all 3 dimensions, with good micro-detailing. Imaging and instrument separation are quite well done, and on poorly recorded tracks, one can hear the warts and all.

One negative point would be the output impedance of 2.4ohm (@ 32ohm) for the balanced port. It is a bit on the high side, and based on the rules of eights, this might not be the best option for low impedance fussy IEMs that have a variable impedance curve, as the frequency response might be skewed. Having said that, one can avoid this by just keeping low impedance gear to the single-ended port, which has acceptable values of 1.2ohm (@ 32ohm).

This DAC/Amp does not get warm even on higher gain/outputs, with demanding gear, which is something much appreciated.


COMPARISONS




Schiit Asgard 3

Tonally, the Asgard 3 is warmer, bassier and more analoguish sounding, with a thicker note weight. The Asgard 3 is less resolving with poorer micro-detailing and soundstage, though it has better instrument separation and layering.

Even though the Asgard 3 only has a single-ended output, it has more power on tap, providing a whopping 600mW at 300ohms. The Asgard 3 also has a lower output impedance of 0.2ohms in both low and high gain, perhaps making it more compatible with fussy low impedance gear.

The Asgard 3 however, gets very hot during usage, and is much larger and heavier in profile. Of note, it is also more than double the price of the K11.


Topping L30

The L30 is a very sterile and analytical sounding piece of kit, and eschews musicality for the critical scalpel of dissecting music. The L30 has a thinner note weight and is sharper and more fatiguing in the upper mids/treble. One can argue that the L30 uses some overly boosted upper frequencies to generate "fake details".

Timbre wise, the L30 is a bit more metallic. The L30 is only single-ended but also has 3 gain settings, and has a similar power output as the K11 with 280mW into 300Ω.

The L30 gets much warmer during usage, and the earlier batches were actually recalled due to electrostatic discharge and grounding issues that destroyed a few headphones (https://imgur.com/v5Ja7f3)!


CONCLUSIONS

After upgrading the transducer, the next step in the audio chain is arguably to get a quality source. This is an important - yet underrated - aspect, allowing consumers to scale a connected transducer to let it shine.

Priced at a relatively affordable $129.99 USD, the K11 is attractively priced, and would be a sound investment (no pun intended) for the budget-conscious audiophile who is looking for a source to future proof the hobby. In fact, it can give some pricier amps a run for their money!

The K11 is a very uncoloured instrument, bestowing a neutralish sound with good technical chops. It has big power on tap with 3 gain settings. This DAC/Amp is solidly built, with a Lilliputian profile that doesn't consume precious desktop space. It has various input and output options, with 6 DAC filters, and is hiss-free, and very importantly, doesn't get hot during usage.



Not everything is perfect though. The K11's highish output impedance on the balanced port makes it a sub-optimal pairing for low impedance gear, and there is no pre-amp function. Additionally, there may be rival amps with more raw power, but the K11 should nevertheless have no issue powering most gear out there.

The K11 aces most departments for a lowish $100 price, and should definitely be considered in the conversation if you are looking for a reasonably priced DAC/Amp.

DISCLAIMER

I would like to thank HIFIGO for providing this review unit. This unit has been passed on to another reviewer in Audioreviews for an assessment.


EXECUTIVE SUMMARY

The LZ A7 is a formidable multi trick rainbow unicorn that leaves most of the other one trick ponies in the dust. The adage “different strokes for different folks” can be easily fulfilled with the LZ A7. It has a mind boggling 10 different sound signatures (giving various shades of V shaped to U shaped to neutralish sound signatures), to provide different palettes and hues to suit different sonic preferences, moods and music genres. Tip rolling (and cable rolling if you ain’t a cable skeptic) can even fine tune the tuning options further, in addition to other 3rd party tuning nozzles!

The LZ A7 also has great fit, good isolation, very good technicalities (especially imaging/soundstage) and a natural tonality. To top off the magical horn on this unicorn, the timbre for acoustic instruments is one of the best for a tribrid that contains a BA/piezo (except for the higher treble frequencies).

My nitpicks with this set mostly have to do with external appearances and accessories, and I’m quite sure most folks will find a preferred tuning option with the LZ A7, other than diehead bassheads.


SPECIFICATIONS

• Driver config: 7 drivers tribrid earphones: Dynamic Driver for low frequency (liquid crystal molecule coating composite diaphragm) × 1, BA for medium frequency (Knowles) × 2, BA for high frequency (Knowles) × 2 , Piezoelectric ceramic ultra-high frequency (7 layers of piezoelectric parallel) × 2
• Frequency response: 5 Hz – 40 kHz
• Impedance: POP mode is 15Ω; MONITOR mode is 13Ω
• Sensitivity: 109dB/mW in POP mode @ 1 kHz; 113dB/mW in MONITOR mode @ 1kHz
• Cable type: MMCX interface
• Tested at $318 USD

ACCESSORIES

In addition to the IEM, it comes with:

• Multiple silicone tips (from medium to narrow to wide bore) (S/M/L)
• 8 stranded 6N single crystal silver plated copper cable
• Plastic container for tips
• Round semi rigid case (green)
• Wooden storage box
• Card pin (to flip POP-MONITOR switch)
• 5 pairs of tuning nozzles (with a bar to store them)

The accessories are adequate for a $300ish USD set, everything is usable OOTB. The cable is well braided and usable, with a chin cinch.

Although no foam tips were included, the variety of silicone tips on offer should get a good fit for most people. I found the narrower bore ones in general boosted bass, while the wider bore ones increased the upper frequencies, but YMMV as we all have different ear anatomies. So in addition to the 10 potential tuning signatures of the LZ A7, tip rolling can also give a degree of finetuning in the sound signature, so do explore to see what suits your preferences best.

One thing to note, the stock silicone eartips are very tight, they require quite a lot of effort to remove if you put the tip beyond the nozzle lip. This may be a pain if you wanna switch nozzles on the fly (but still reusing the same tips). On the other hand, you can be sure the eartip won’t easily drop out or be left in the ear when one removes the LZ A7, which I have experienced with some other IEMs before!

Unless otherwise stated, for the rest of this review, most of it was done primarily with the MONITOR-black nozzle configuration, with the black silicone tips (green nozzle).





BUILD/COMFORT

The LZ A7 is extremely well fitting, I had no comfort issues using it for longer sessions. The shells are well built, but I would have preferred lesser words on the shell, as that kinda spoilt the asthetics of the shell. Well I’ll take a good sounding set with ugly shells, over a good looking but crap sounding one any day. The LZ A7 belongs in the former category of good sound with not so good looks, but anyway, when the IEM is inside the ears, one can’t see the shell, and the sonic qualities will be of much more importance!

The LZ A7 came with a MMCX connector, and while I had no issues with the MMCX connections on this set, I generally prefer 2 pin connectors. In my experience, MMCX connectors have lesser longevity in general compared to 2 pin types, especially with frequent cable changes. They either end up loose like a windvane spinning 360 degrees and causing potential sound cut out, or they become so tight they need to be removed with tools. Well YMMV.

Experienced IEM users will automatically know which side goes into which ear, though there’s a left and right marking on the shell, but just to be doubly sure, LZ has coloured the external shell vents blue and red, which corresponds to the left and right sides respectively. (When I first started out in this hobby, I remembered it as BLUE being Left and RED being Right).

There were multiple reports of moisture build up in the nozzles of the LZ A6 and LZ A6 mini (which were the predecessors of the LZ A7). This moisture issue had caused intermittent sound cut out for some users, it was also noted in some other CHIFI like the TRN BA5. I’m glad to report that LZ has fixed this moisture issue with the LZ A7. I live in a humid and hot climate and have used the LZ A7 for many long marathon listening sessions with no issues on this front.

I didn’t find any driver flex, but this is a bit dependent on eartips used and ear anatomy, so YMMV.


ISOLATION

Isolation is good but not classleading. The LZ A7 is vented and will lose to some pure BA unvented sets in the isolation department.


DRIVABILITY/SOURCE

For the purposes of this review, I tried the LZ A7 with a Khadas Tone Board -> Topping L30 amp, Khadas Tone Board -> Fiio A3 amp, Shanling Q1 DAP, Ziku HD X9 DAP, smartphone (android) and Tempotec Sonata HD Pro.

The LZ A7 is rather easy to drive from lower powered sources. Though, amping does provide some scaling in details, soundstage and dynamics.


GENERAL SOUND & TUNING NOZZLES/SWITCHES

The keyword that I will use for the LZ A7 is “natural”. It is natural in tonality, rather balanced across most tuning options, and also has a very natural timbre (which we will discuss below in more detail). Some CHIFI, especially at the budget segment, like to boost the upper mids/treble to give a “fake” sense of perceived details, but the LZ A7 manages to get these details in without much effort or using this “cheat code”, even on the less upper frequency boosted tuning configs.

The biggest selling point about the LZ A7, of course, is the mindboggling 10 potential configurations in sound signature. The next few paragraphs and graphics will explain these in more detail. Do forgive me for spending some time in these areas, but I feel it will only be doing justice to this multi trick rainbow unicorn as such. In a nutshell, the tuning is changed via a 2 way switch (POP vs MONITOR switch) and 5 pairs of tuning nozzles. To complicate matters, the provided ear tips of various nozzle diameters and even aftermarket tips/foam tips and aftermarket tuning nozzles can all change the sound signature. Not to mention cable believers may also do an even higher level of fine tuning via pairing it with various aftermarket cables (please don’t report me to the police if you are a cable skeptic!).


This is a LZ store page graph comparing the sound signature of the POP switch (grey line) versus the Monitor switch (purple line).


The POP-MONITOR switch can be flipped with a card pin provided in the accessories. They are too small to be flipped by a finger, so the card pin is something that shouldn’t be lost, but you can use any phone SIM card pin for this purpose, or even a toothpick. The switches are not gimmicks, they do affect the 100ish Hz to 1ish KHz regions as per the above graph. The MONITOR switch increases the mid frequencies and makes the LZ A7 more neutralish/mid centric. The POP switch depresses the mids and makes the sound more V/U shaped.

As the ears take the entire frequency spectrum as a whole, the bass/treble may be perceived to be more emphasized with the POP switch on, as one may boost the volume due to the depressed mids to get the same details and clarity in the mids (when compared to the MONITOR mode). Those who prefer instrumentals and vocals and a fuller mids/note weight will probably benefit from the MONITOR switch. Whereas those that want a more V shaped consumer friendly tuning with a more boosted bass (or say if you are outdoors where bass frequencies are the first to be lost), may benefit from the POP switch.


On the Taobao store page, LZ has some descriptions for the various tuning nozzles (they are all based on the black stock nozzle as a baseline for increase and decrease at the 1.5 – 5 kHz regions):
Black (+0 db, aluminum): standard.
Red (-8 db, aluminum): bass boost.
Yellow (-3 db, copper): mellow vocals.
Blue (+3 db, aluminum): treble clarity.
Silver (+6 db, stainless steel): extreme technicalities.

This is a LZ store page graph showing how the 5 tuning nozzles affect the sound signature while on the POP switch.
Red line = red nozzle
Yellow line = gold nozzle
Grey line = black nozzle
Blue line = blue nozzle
Purple dotted line = silver nozzle

This is a LZ store page graph showing how the 5 tuning nozzles affect the sound signature while on the MONITOR switch.
Red line = red nozzle
Yellow line = gold nozzle
Black line = black nozzle
Blue line = blue nozzle
Purple dotted line = silver nozzle


The above pictures show how the tuning nozzles affect the 1.5 – 5 kHz regions. Once more, they are not gimmicks and they work as advertised. Although the tuning nozzles technically don’t touch the bass frequencies per se, as the ears take the entire frequency spectrum as a whole, boosting or depressing the upper mids/lower treble area will make the ears perceive the bass to be depressed/boosted respectively (see saw effect), so there will be perceived bass changes with the various tuning nozzles on.

I find the gold/red nozzles give a more neutral tuning, the silver and blue ones boost the upper mids/lower treble the most. The black nozzle is the default tuning nozzle the LZ A7 comes with, and it probably is the most middle of the road tuning and most all rounder as such.

The LZ A7 thus can be a multi trick unicorn that has a spectrum of rainbow coloured tunings from a neutralish tuning (MONITOR-Red nozzle) to various shades of neutralish/U shape variants, all the way to the V shaped tunings. POP-Black nozzle is probably the limit of the upper mids/lower treble boost as I am treble sensitive. I found the blue and silver tuning nozzles to be quite hot in the upper mids/lower treble on POP mode, with sibilance, especially at louder volumes/poorly recorded material, so they didn’t get much airtime for me. Though they may be preferred for trebleheads, or in certain music genres (perhaps for instrumental/vocal predominant music), as they gave a better clarity and hence perceived details.

Treble is a big can of worms though, as we all have different hearing health (due to age/occupational/leisure exposure), and treble frequencies are usually the first to be lost in these conditions. Also, we may have different pinna gain due to different ear anatomies, we use different sources, different eartips, play at different volumes (Fletcher Munson curve), and even use different cables (for the cable believers), and some are by default treblehead/treble sensitive.


So do explore to see what suits your preference, I like that LZ has provided different areas for you to finetune the signature for your preferred sonic preferences, music genres, moods and hearing health, via the POP-MONITOR switch and tuning nozzles (and thru the above variables in the last paragraph). The adage “different strokes for different folks” can be easily fulfilled with the multi trick unicorn LZ A7. The good thing about tunable sets like the LZ A7, is that there is also an ideal tuning option for treble amounts for different individuals.

A bonus headache (though a good headache to have!) is that aftermarket nozzles from BGVP, the NiceHCK M6, the LZ A6 mini, LZ A6, LZ A5 and Semkarch CNT1 also fit the LZ A7! I know some of these models are out of production or soon going to be (in the case of the LZ A6 and A6 mini), so I won’t dwell too much on this area, but existing owners of those models have an even greater number of permutations to play with to get audio nirvana on the LZ A7.


SOUND AND TECHNICALITIES IN DETAIL

So, as detailed above, with the tuning switches and nozzles, the LZ A7 can be coloured in various shades from neutralish variants to U shaped variants all the way to V shaped, it can suit different sound signatures from something mid/vocal centric to a more technical and bright signature. Diehard bassheads will unfortunately be the only ones left out as the LZ A7 is not basshead in quantity even in the most bassy sounding config, but the bass is a quality bass nevertheless, which we will discuss later in this section.

Soundstage on the LZ A7 is very wide, with good depth and height (depth > height). Soundstage however, is affected to some extent by the POP vs MONITOR mode, as a V shaped signature in the POP mode may give a more distant mids and hence a perceived wider soundstage. A more midcentric tuning as in the MONITOR mode will compress the stage width a tinge. Soundstage is not the easiest to estimate, but I would say the smallest stage I found on the LZ A7 is on the MONITOR-gold nozzle and/or MONITOR- red nozzle mode as those are perhaps the more midcentric tunings, whereas it is wider on the POP nozzle variants.

With regards to technical performance, the LZ A7 has one of the best imaging I have heard in a midfi IEM, with a very dark background allowing instruments to be pinpointed very easily. Music never sounded congested, with a good space all around. Details and instrument separation were very good, though probably it isn’t the absolute class leader for microdetailing at the midfi segment. Complex music, fast music and music with competing instrumentation/riffs are easily handled by the LZ A7. Clarity is somewhat dependent on which tuning nozzle/switch is used, as a boosted upper mids/treble would generally give a better perceived clarity.

The LZ A7’s note weight is moderate, but may be a tinge thinner with the blue/silver nozzles on. In the area of timbre, the LZ A7 has a very natural timbre for vocals and acoustic instruments (woodwinds, brasses, stringed instruments), this was a big surprise for me, considering it contains a BA/piezo driver, and these drivers aren’t usually known for good timbre compared to single DD types. The LZ A7’s timbre won’t beat some well tuned single DD sets in this department, but it may actually be better than some budget single DD sets for timbre. Perhaps at the higher upper treble frequencies handled by piezo drivers, I did detect a bit of a metallic artificial timbre for violins on occasion, but not many tracks feature violins playing so high, so I would think for general use, this may not be so apparent, and one must really be looking out for it to truly notice it.

Across most of the tuning configs, bass on the LZ A7 is more subbass focused than midbass focused. The subbass extends deep and moves air like most well tuned DD bass sets, with a slightly slower decay than traditional BA bass. The LZ A7’s midbass is punchy, but even at the most perceived bassy config, this is not a true basshead set in terms of quantity, but the bass is a quality bass, being on the faster side, with good texturing. On the most bassy config, bass does not bleed into the mids and it gives the mids and treble a lot of space to breathe.

Mids as discussed above, are very dependent on the POP vs MONITOR switches, and the upper mids area in particular are affected by which tuning nozzle you use. Midcentric and vocal lovers would like the MONITOR switch and can fine tune the upper mids region with the various tuning nozzles, whereas V shaped lovers can opt for the POP switch. On most configurations, the mids are very detailed, layered, natural sounding and transparent, aided by the superb imaging and soundstage. I liked that the LZ A7 sounded quite musical yet detailed, but without treading into being an overly analytical set.


The LZ A7 has quite good treble extension and air and details. As per the mids, the tuning nozzles will affect the lower treble quantity to some extent. The amount of treble quantity can be controlled as such, depending if you want more sparkle and brightness, or something smoother and less fatiguing. Overall, I would say the LZ A7 has a treble generally lying on the energetic side of the spectrum, maybe except with the red tuning nozzles.

Trebleheads will probably like the blue and silver nozzles. I’m treble sensitive and I prefer the gold and red +/- black ones, with the red nozzle being the most treble light of the configs. I didn’t use the blue and silver nozzles too much, but they do have their uses for me for certain music genres eg perhaps for instrumental/vocal predominant music. The POP-black nozzle mode is probably the limit of the treble I can take (but it is very non fatiguing and smooth in MONITOR-black nozzle mode), so the black nozzle is a useful baseline to see how much treble you wanna adjust from there. On the non blue/silver nozzles, cymbals sound quite natural and not splashy, unlike some other treble steroid boosted CHIFI. Sibilance was present some times on the silver tuning nozzle especially in the POP mode, but as discussed previously, this unicorn can give a preferred treble setting for almost everyone, from trebleheads to treble sensitive brethen!


COMPARISONS

I did most of my comparisons versus these other sets using the Monitor-Black nozzle config.


Westone W30 (3BA) ($400 USD)

The Westone W30 is a warm neutralish set. Timbre is worse on the Westone W30 and notes lack an edge definition/bite on the Westone W30. The LZ A7 easily beats the Westone W30 in technicalities (in the areas of imaging, instrument separation, soundstage and details). Isolation and comfort is about on par.

The LZ A7 is a complete upgrade in almost all areas, and it is more versatile too due to the tuning configs.


Audiosense AQ7 (1DD + 6BA) ($498 USD)

The Audiosense AQ7 is a mild U shaped set with a subbass boost, with some dampened treble frequencies. Soundstage is a tinge smaller on the Audiosense AQ7. For technical performance, both are very good sets in this area, but imaging is a tinge better on the LZ A7. The Audiosense AQ7 wins in the area of instrument separation and details. Both have fast and clean basses without midbass bleed.

The LZ A7 is slightly better in timbre for acoustic instruments.

The Audiosense AQ7 comes with better accessories eg a Pelican like waterproof hard case, and the shells look like semi customs and are quite beautiful.

Between the 2, the Audiosense AQ7 wins in microdetails, but I would give my vote to the LZ A7 for the more natural timbre, more tuning options and cheaper price.


Audiosense T800 (8 BA) ($298 USD)

The Audiosense T800 is an 8 knowles BA bright V shaped set. It has a vented subwoofer that makes the BA bass on the Audiosense T800 sound pretty close to a DD bass instead of a traditional BA bass.

The Audiosense T800 has a more “fun sounding”, in your face type of sound. Even on the most bassy config in the LZ A7, the Audiosense T800 still has more sub bass quantity but Audiosense T800’s bass is not as fast or textured as the LZ A7. The LZ A7 has better imaging, instrument separation, clarity and details and soundstage than the Audiosense T800. I also found the tuning is more refined and smoother on the LZ A7, with treble extension on most tuning nozzles being better in the LZ A7.

In the area of isolation and accessories, the Audiosense T800 edges it, with the Audiosense T800 having almost 30 dB passive isolation, very impressive for a non etymotic type deep insertion IEM or custom IEM. Plus the Audiosense T800 came with the aforementioned Pelican like hard case similar to the Audiosense AQ7 discussed above. Fit is better on the LZ A7 due to the smaller shell.

The Audiosense T800 is a very source picky IEM in view of the very low 9.2 ohm impedance, and it pairs well with sources with < 1 ohm output impedance (ideally as close to zero as possible is better). The Audiosense T800’s frequency response gets skewed with inappropriate source pairing especially if the source output impedance is too high. The LZ A7 is much easier to pair with sources. So one other area to consider if you don’t have an appropriate source on hand.

The Audiosense T800 has spent much time with me on the road, it has been my daily transit and stage monitoring driver for the last 18 months due to the great isolation and good technical performance, and it was my endgame IEM for 2019. The LZ A7 has landed and has taken the new title of midfi CHIFI end game today. I will still use the Audiosense T800 for stage monitoring due to the excellent isolation, but I have to admit here that the LZ A7 here is the better set in terms of sound quality. And we haven’t even talked about the 10 tuning configs on the LZ A7 giving it more versatility.


TRI I3 (1 DD + 1 planar + 1 BA) ($169USD)

The TRI I3 is a U shaped set, and sounds very coherent and well balanced despite the weird mishmash of driver types. It is very smooth and non fatiguing, but has an occasional 3 kHz spike that rears its ugly head during poorly recorded material or at louder volumes (Fletcher Munson curve).

The TRI I3 is much more power hungry due to the planars in the mids requiring some juice, and it needs amping to perform optimally, unlike the LZ A7, which is easier to drive. The TRI I3 is bulkier and heavier in shell size, and may be more uncomfortable for longer listening sessions. Isolation is also poorer on the TRI I3.

The TRI I3 has poorer details, less instrument separation, poorer imaging and clarity even when amped. The TRI I3 also has a higher treble bordering on dark, and perhaps wouldn’t be a good option for trebleheads, whereas the LZ A7 has better treble extension and airiness, especially on the silver/blue tuning nozzles.

For the mids, the TRI I3 has lusher and thicker mids (when the planars are amped), but the mids ain’t as transparent as the LZ A7. Bass wise, the TRI I3 is more midbass focused, compared to the subbass focused LZ A7 (on most tuning configs), but the bass quality is not as fast on the TRI I3.

The TRI I3 is famous for having a holographic 3D soundstage at the $150 USD price bracket (when amped). The LZ A7 actually has better width and depth in soundstage, but loses a tinge to the TRI I3 in the height department.


TRI Starsea (1DD + 2 BA) ($129 USD)

I know it is an unfair comparison due to the almost 2 – 3 times price difference between the 2 sets, but I view the TRI Starsea as sort of a poor man’s LZ A7, with the TRI Starsea having 4 tuning options (via switches only without tuning nozzles). Other than the LZ A7 having more possible tuning sound signatures than the TRI Starsea, the LZ A7 also has better timbre, a thicker note weight and a more refined tonality. The LZ A7 also has a bigger soundstage and better instrument separation, details and imaging.

Like the Audiosense T800, the Tri Starsea is also a very source picky IEM in view of the very low 9.5 ohm impedance, and likewise pairs well with sources with < 1 ohm output impedance (close to zero is best). As per the Audiosense T800, the frequency response gets skewed with inappropriate source pairing, unlike the LZ A7 which is more source agnostic.

The LZ A7 is not 3 times better as the price would suggest, and diminishing returns are present the higher you go up in this hobby, but I would say if you can save up, it might be better to skip the TRI Starsea and just go for a higher tier upgrade in the LZ A7 in view of the more tuning options, less source pickiness and better technicalities/refinement.


Oriveti New Primacy (2 BA + 1 DD) ($300 USD)

The Oriveti New Primacy is a balanced, warm neutral set. The LZ A7 is faster, tighter and more textured in the bass. The Oriveti New Primacy has a smooth and somewhat veiled mids and treble, whereas the LZ A7 is more transparent in the mids, with greater treble extension and airiness and fowardness (dependent on tuning nozzle type).

The LZ A7 trumps the Oriveti New Primacy in technicalities (instrument separation, clarity, details, imaging and soundstage). The LZ A7 has better timbre for acoustic instruments. BA timbre is quite apparent in the Oriveti New Primacy for the mids and treble frequencies for acoustic instruments, with the LZ A7 sounding much more natural, maybe except in the higher treble frequencies handled by the piezos.

I also had a very bad driver flex with the Oriveti New Primacy, I gotta say it may actually be one of the worst driver flex I’ve experienced in the last 16 years of using IEMs. On inserting the Oriveti New Primacy, there’s a literal “clunk!” sound that makes me super worried something gets damaged inside each time I use it. On the other hand, I had no driver flex with the LZ A7, but YMMV, as driver flex is dependent on ear anatomy and eartips used to some extent. Driver flex aside, I also found the LZ A7 to be more comfortable for longer sessions.


Kinera Freya (3 BA + 1DD) ($249 USD)

The Kinera Freya is a U/V shaped set, with a beautiful hand painted shell, which is much larger in size. The Kinera Freya has better accessories too. Those external superficial areas are however the only areas where the Kinera Freya surpasses the LZ A7. In terms of sonic performance, it doesn’t hold a candle to the LZ A7. The LZ A7 is the superior IEM in the areas of technicalities, timbre and tonality and fit/comfort, and by quite a distance. The LZ A7 of course has 10 tuning configurations too, so it is more versatile. Unless you prefer looks and accessories over function, then the LZ A7 is definitely the better option.


Toneking Ninetails (1 DD) ($125 USD)

I know it is strange to compare the Toneking Ninetails (a single DD set) to a more expensive tribrid in the LZ A7, as the single DDs and tribrids have their different strengths and weaknesses among the different transducer types. But I decided to go ahead and compare them since the Toneking Ninetails has tuning nozzles (rear and front) to give 9 tuning signatures, 1 short of the LZ A7.

Just a bit of a background, the Ninetails is a Far Eastern “fox spirit” in Japanese, Korean and Chinese cultures, which can shapeshift to take the form of a human. So it is quite a good naming convention, as the Toneking Ninetails IEM had a rear and front tuning nozzle to give 9 different sound signatures, from neutralish to V shaped to basshead. The tuning nozzles are not gimmicks and they actually worked, and it tied in nicely with the Ninetails namesake and folklore.

The Toneking Ninetails IEM was a cult classic with good reviews among owners, but a lot of people were hesitant to purchase it due to the unconventional looking design. The Ninetails is actually quite well fitting and comfortable once you know how to wear it, but the LZ A7 is still more comfortable due to the more ergonomic and conventional profile.

The LZ A7 has better isolation and accessories. The Toneking Ninetails has actually one less tuning configs (nine) than the ten in the LZ A7, but the Toneking Ninetails can become basshead on certain configs with a jawrattling nausea inducing headache, something the LZ A7 cannot do, even on the most bassy config.

The single DD Toneking Ninetails has much weaker technicalities than the multi driver LZ A7, though the Toneking Ninetails has a better timbre for acoustic instruments, as per its single DD roots. The LZ A7 trumps the Toneking Ninetails in details, instrument separation, clarity and imaging, transients, speed and bass tightness. Though in view of the semi open backed design, the Toneking Ninetails has a slightly better soundstage (though at the expense of poorer isolation).


CONCLUSIONS

The LZ A7 is a formidable multi trick rainbow unicorn that leaves most of the other one trick ponies in the dust. The adage “different strokes for different folks” can be easily fulfilled with the LZ A7. It has a mind boggling 10 different sound signatures (giving various shades of V shaped to U shaped to neutralish sound signatures), to provide different palettes and hues to suit different sonic preferences, moods and music genres. Tip rolling (and cable rolling if you ain’t a cable skeptic) can even fine tune the tuning options further, in addition to other 3rd party tuning nozzles!

The LZ A7 also has great fit, good isolation, very good technicalities (especially imaging/soundstage) and a natural tonality. To top off the magical horn on this unicorn, the timbre for acoustic instruments is one of the best for a tribrid that contains a BA/piezo (except for the higher treble frequencies).

My nitpicks with this set mostly have to do with external appearances and accessories, and I’m quite sure most folks will find a preferred tuning option with the LZ A7, other than diehead bassheads.

Getting the LZ A7 is like getting 10 IEMs with 1 purchase (or even more if you explore aftermarket tuning nozzles), and it has my vote for midfi CHIFI of the year for 2020. I think that it can be an end game set for many in the midfi segment, but is there really such a thing as a mythical endgame unicorn in this hobby?

DISCLAIMER

I would like to thank the TRN official store for providing this review unit.


EXECUTIVE SUMMARY

The TRN T300 is quite the complete package for a TWS set, sporting a coherent well tuned U shaped signature, coupled with good BT connectivity/support, a good fit, and some nice aspects like IP45 waterproofing, volume controls, wireless charging and a charging case.


SPECIFICATIONS

• Driver type: 1DD + 2 BA (8 mm dual magnet DD, 2 custom 30019 BA)
• Bluetooth: 5.2 Bluetooth, QCC 3046 Chip /AAC
• Qualcomm cVc 8.0 Noise Cancellation for calls
• Volume control: yes
• IPX5 Water Proofing: Can resist a sustained, low-pressure water jet spray.
• Bluetooth codecs: APT-X/AAC/SBC
• Tested at $74.55 USD

ACCESSORIES

In addition to the TWS IEM, it comes with:

1) Silicone ear tips (3 pairs in total)

2) USB C charging cable

3) Charging case

• The charging case is on the small side size wise, and can fit in a pocket or bag easily.
• It can charge the earpieces fully 5 times.
• There’s an inner magnet so the earphones won’t drop out when the charging case is held upside down, very innovative!
• The charging case supports USB type C charging and wireless charging.
• The charging case has a battery indicator, so very useful to have a rough gauge of the remaining battery life.

BUILD/COMFORT

The TRN T300 is on the larger size shell wise, so the set does protrude noticably from the ears. Though, it is very comfortable, light and ergonomic, no issues using it for hours, you can even forget sometimes it’s in use. I didn’t find any driver flex on my set.

The Tronsmart Apollo Bold has a IP45 waterproof rating (i.e. sweat, light rain and splash proof), so it can be used for gym/exercising too, but probably not for heavy rain or water sports.

Isolation is about average for a TWS, there’s no ANC, but the passive isolation should be good for most outdoor use. I’ve tried running around with it, there is a vent and unfortunately wind noise can get inside the TRN T300.


FUNCTION/CONNECTIVITY

The TRN T300 powers on when taking it out of the charging case. Putting them back into the charging case powers them off. I had no issues with pairing it with a few BT devices, they recognized the TRN T300 on the spot.

Function for the TRN T300 is as per this picture:



The controls work as advertised above, and the touch controls are well implemented and are not overly sensitive.

BT connectivity on the TRN T300 is very good, it can go about 10 – 15 meters with no obstacles, and maybe 5 – 7 meters with obstacles. I haven’t had any drop outs for the past month I’ve been testing it, though perhaps in very crowded areas there was some slight lag or signal breakup.

The TRN T300 boasts a TrueWireless Mirroring Technology, where both earpieces transfer and receive the bluetooth signal simultaneously, instead of the conventional route, where the primary earpiece gets the signal first before transferring it to the “slave” second earpiece. What TRN says this does, is in theory, both earpieces turn off automatically when there is no connection to the device, so this prolongs battery life in a way.



TECHNICAL ASPECTS

The TRN T300 supports APT-X, AAC and SBC bluetooth codecs.

Battery life wise, the TRN T300 is marketed as having the following specs:



I do get 3.5 – 4 hours of battery life with a single charge, so it is thereabouts for the advertised battery life and charging specs, but this would also depend on the volume levels one listens at. Also, battery life would be expected to go down with repeated charging, so in the big scheme of things, I would consider the battery life to be about average.

I didn’t detect much latency with videos and music, unlike some other TWS sets. I don’t usually do gaming, but I think the latency speed is excellent for this set for non gaming purposes.


SOUND

Graph courtesy of KopiOKaya from Audioreviews (IEC711 compliant coupler). 8 kHz area is probably a resonance coupler peak.


Soundwise, the TRN T300 is a very coherent U shaped set. It is quite atypically tuned from the usual wired TRNs which have harsh upper frequencies and sibilance in spades. If you have heard the BLON BL-05S (not the non S version), the TRN T300 is actually very similar in tonality to it. So tonally, I would describe the TRN T300 as having a smooth U shaped tuning, that is non fatiguing but still being able to bring forward vocals and instrumentation in the mix. There’s perhaps a higher treble and subbass roll off, but this is also common in some other wireless gear. Dynamics are surprisingly good.

The bass on the TRN T300 is north of netural, and is punchy but this is not a basshead set in terms of quantity. Subbass isn’t the most extended, and bass quality isn’t the most textured, but otherwise, the bass acts as a nice counterpoint to the upper frequencies. Bass has occasional midbass bleed but by and large it doesn’t encroach into the mids. Timbre of bass is quite natural.

The lower mids are a tinge recessed compared to upper mids. Some warmth is added from the midbass bleed, and thereafter, there’s a slight upper mids boost at the 2 kHz area, but this area isn’t shouty at all. The upper mids are very safe and non fatiguing, and I was rather surprised on hearing this, as TRN’s house tuning usually boosts this area to the moon.

Treble is quite well extended on the TRN T300 (other than a 6 kHz dip), with a good amount of details, but without sibilance/harshness. I’m treble sensitive and this treble actually falls on the safer side tuning wise, maybe trebleheads and those wanting a bit more sparkle in their music might find the treble too tame actually, but on the flip side, this is a very non fatiguing and smooth set, and is highly suited for long listening sessions as such.

To be honest, I’ve wasn’t too impressed with the wired TRN releases for 2020 (for tonality), especially the higher end models like the TRN VX and TRN BA8 (let’s ignore the $15000 golden ears TRN), but I really like the tuning of the TRN T300 here. There’s no harsh upper mids/treble/sibilance fest here, and if they used this tuning in one of their wired releases, I’m sure it will sell very well.

Technicalities wise, clarity, details, imaging and instrument separation are above average for TWS standards. Soundstage is above average in all 3 dimensions, though music can get congested in very complex pieces or with competing riffs. In general, wired gear will still beat most TWS at the same price bracket, so don’t be expecting a technical tour de force for this set (when compared to traditional wired hybrids), but it is still quite good overall for a TWS set.

Timbre is quite good for acoustic instruments, this set can be a good pairing for most music genres.


COMPARISONS

Tronsmart Apollo Bold ($99 USD)

The Tronsmart Apollo Bold is a more basshead, L shaped set, and the bass can really rattle the jaw, especially on ANC mode. In contrast, the TRN T300 doesn’t have ANC mode and is much less bassy. So in addition to the Tronsmart Apollo Bold having an ambient and ANC mode, the Tronsmart Apollo Bold has an app to do some EQ settings and it has a much longer battery life. The Tronsmart Apollo Bold doesn’t support wireless charging, and the charging case has no battery indicator.

Connectivity is poorer on the Tronsmart Apollo Bold, it suffers from occasional drop outs and pairing issues and has a lesser BT range than the TRN T300.

In terms of note weight, the Tronsmart Apollo Bold is thinner, but it has better technicalities in the area of clarity, imaging, soundstage, instrument separation, details. A few folks in the TWS threads on audio forums didn’t like the too boomy bass of the Tronsmart Apollo Bold (though the app has EQ functions to give a less bassy profile), so in a way the TRN T300’s tuning is more versatile and should be more consumer friendly, with the U shaped tuning.


TFZ B.V2 ($49 USD)

The TRN T300 beats the TFZ B.V2 in most areas, including battery life, technicalities, fit, BT connectivity/range. The TFZ B.V2 also doesn’t support wireless charging and the charging case has no battery indicator.


CONCLUSIONS

The TRN T300 is quite the complete package for a TWS set. I do recommend this set to those who are looking for a well tuned TWS set, it sports a coherent U shaped signature that is very atypical from the usual harsh and overly bright TRN tuning.

In addition to the great tuning, the TRN T300 boasts good BT connectivity/support, a good fit, and some nice aspects like IP45 waterproofing, volume controls, wireless charging and a charging case and well implemented touch controls. Perhaps small nitpicks would be the average battery life and average isolation.

IMHO, TRN didn’t have the best 2020 with its more expensive wired releases, but I think TRN has started this year with a very good set (though it isn’t a wired set). If they do use this same tuning in some of their wired releases for this year, I think they will be on to a winner!

DISCLAIMER

The Gryphon is a loaner from iFi. It will be returned after this review.
It can be gotten here: https://ifi-audio.com/products/xdsd-gryphon/ (no affiliate links).




SPECIFICATIONS/COMPATIBILITY




The Gryphon's engine is a Burr Brown DAC, and this gadget can function as a DAC, amp, pre-amp and Bluetooth device, increasing its versatility tremendously.

It is compatible with multiple music formats, including DSD, PCM, DXD and MQA. PCM can be played up to 32-bit/768kHz via USB (or 192kHz via optical/coaxial), with native playback up to DSD512, and full MQA decoding (up to 384kHz).

The Gryphon is also compatible with myriad Bluetooth codecs, which should please our brethren who use wireless gear. The Gryphon has balanced and single-ended outputs, with the former providing more power. This may be useful for demanding transducers if more headroom is required.


ACCESSORIES

Other than the Gryphon, these are included:
- 1 x USB-A to USB-C cable
- 1 x USB-C to USB-C cable
- 1 x lightning to USB-C cable
- 1 x carrying pouch



The accessories are pretty serviceable, and users of both Android and Apple devices should be covered with the spread. Perhaps only legacy type devices that utilize micro-USB ports or older ports may face an issue, but no biggie getting an aftermarket adapter I guess.

The velvet carrying pouch should prevent scratches on the Gryphon, but it won't prevent drops or knocks, so perhaps a hard carrying case would have been desirable, but this is just nitpicking.


DESIGN/FUNCTION

Fashioned from aluminum chassis with an OLED display, the Gryphon is industrial looking but functional. The build is solid and tough. Measuring 123 x 75 x19 mm and weighing in at 215 g, this device is quite portable on-the-go, with no excessive weight or bulkiness.



A rectangular OLED screen on the top of the DAC/Amp displays audio format, sampling rates, volume, input mode, battery levels and whether the XSpace/XBass II functions are enabled.


The Gryphon has a ton-load of connectors and ports, and these are what they do:



On the front, we have the single-ended (3.5 mm) and balanced (4.4 mm) output ports, with the latter reinforced with gold-plating. No 2.5 mm or 6.35 mm ports are present, but once again, one can easily source for an aftermarket adapter if your cables are in these terminations.



We also have the XSpace and XBass II buttons, volume knob and the input selector buttons on the front. The input selector buttons will switch between USB, Bluetooth, Line-out and S/PDIF options.

The XBass II boosts bass for our basshead friends, whereas the XSpace function is kind of a spatialiser to open up the soundstage. Do explore these functions and see if they are your cup of tea.



The volume knob functions as a power on/off button, an analogue volume control, a mute/unmute control and even accesses the menu setting:


Inside the settings menu, we can select stuff like USB-C port charging/input, screen brightness, BT voice prompting and digital filters. Basically the usual she-bangs that any audiophile would require is included here.

These are the 3 filters included with the Gryphon. Do explore to see what suits your needs, thought the differences in sound are quite subtle to my ears.



This device flashes a different LED colour on the front panel, depending on the audio format/sampling:


The input and volume levels also showcase different LED colours, which is quite useful at a glance:



On the base of this device, we have the serial number and a built-in iEMatch. There are rubberized feet to add grip during usage.



The iEMatch (https://ifi-audio.com/faqs/what-is-the-iematch/) is a nifty tool to match the Gryphon to transducers that have very low impedance (based on the audiophile rule of eights). And the best part is that unlike other impedance adapters, the iEMatch doesn't skew the frequency response of the IEM attached. Thus, this is a very important tool that increases the Gryphon's compatibility with fussy gear eg Campfire Andromeda.

There is some hiss with very sensitive IEMs on this device, so toggling the iEMatch also gets rid of the hiss!


At the back of the Gryphon, we have a bass/presence toggle switch. This affects what the XBass switch at the front changes in the frequency response. Also at the back are the input and digital ports, in addition to the USB-C and charging connectors.




I am glad to report that the Gryphon gets just slightly warm with usage, but nothing very hot or scalding, unlike some competitor devices.

For those that are interested, the Gryphon utilizes many choice components, as detailed in the photos below:




BLUETOOTH



The Gryphon contains a Bluetooth 5.1 module with QCCS100 chipset, supporting 96 kHz HD BT formats including aptXHD, aptX Adaptive, LDAC and HWA/LHDC! During my field tests, the Gryphon was easily recognized by multiple Windows and Android devices, including DAPs (I'm sorry but I do not use Apple devices, so can't comment on this aspect).

Bluetooth range is about 10 metres without obstructions, and 5 metres with obstructions. Sadly, there was some stuttering and occasional drop outs with longer distances or larger obstructions.


BATTERY

On balanced, I can hit about 7 - 8 hours on the Gryphon thru wired connection, using FLAC/WAV files at moderate volumes, which is okayish in my book. Do bear in mind though that with repeated charge cycles, the battery life is expected to go down.

Sadly, the Gryphon takes a whopping 5 hours or so to be fully charged, which is a bit disappointing. That's like a big fraction of the actual play time!

While the Gryphon can be used to play music while charging, it does get slightly hot with this combination, and will also take longer to charge too.


SOUND

The Gryphon bestows a warm-neutral tuning. Perhaps it isn't as warm and analoguish as some other iFi gear, but it still lies on the warmer side, with a thicker note weight than neutral sources. Timbral accuracy is very natural and timbre freaks should have no complaints here.

Indeed, nothing sounds artificial unlike some treble-boosted DAC/Amp rivals, and it is very musical with sibilant-free sonics. The treble and upper midrange are quite restrained. Bass is emphasized, but nevertheless has good texturing with solid sub-bass extension. As alluded to above, bassheads can activate the XBass switch to increase the bass quantity even further.

In technicalities, the Gryphon has an expansive soundstage with superb layering and instrument separation. While it isn't the most micro-detailed compared to some steroid infused competitors that boost the high-end frequencies, there is still decent clarity and resolution available. The keyword to describe this device is "natural". Everything sounds as it should, with a musical signature meeting good technicalities.

Due to the tuning, the Gryphon is an excellent pairing with so-called shoutier or harsher gear - such as the AKG N5005 for example - in taming the upper end. This DAC/Amp can be used for hours on end for a chill and relaxing session, without too many compromises in resolution.

On the balanced output, the Gryphon can provide 1000 mW at 32 ohms and 74 mW at 600 ohm. Thus, it can drive most gear out there, perhaps other than some planar headphones or extreme outliers. Unsurprisingly, this DAC/Amp has more power on the balanced (4.4 mm) port when compared to the single-ended (3.5 mm port), with increased dynamics and headroom heard on balanced, especially for harder to drive gear.

These are my usual acid tests when testing out a new source:
- Final Audio E5000 (low sensitivity at 93dB/mW)
- Sennheiser HD650 (high impedance at 300ohm)
- Yinman 600 ohm (600 ohm impedance and 87db/mW sensitivity)



If the Final E5000 is underpowered, it sounds bloated and untextured in the bass, with one-noted boomy basslines heard. The Gryphon easily aces this tests on its 4.4 mm port, with no smudging in the bass, even with complex bass tracks.



The HD650 sounds boring and undynamic if not juiced well. The Gryphon adequately powers the HD650 to fine dynamics and bass tightness, though unsurprisingly, some desktop level amps might probably do a slightly better job.



The final boss, the Yinman 600 ohm earbuds, has very low sensitivity with a high 600 ohm impedance. The bass can be very nebulous and fuzzy when it is not driven well. The Gryphon can power this behemoth on the 4.4 mm port, though the bass does smear somewhat on complex tracks, with a slight lack of dynamics. Having said that, it is no shame to be unable to juice this earbud, most of my portable sources can't even drive it adequately, and the Yinman 600 ohm probably needs desktop amps with larger power on tap to do justice to the sonics.

The Gryphon has <1.0 ohm output impedance both output ports, allowing it to be paired with fussy sensitive IEMs like the Campfire Andromeda (based on audiophile rule of eights) without skewing the frequency response. As described above, there is hiss with some sensitive IEMs, but toggling the iEMatch easily fixes this.

I did not encounter any EMI with the Android phones and DAPs that I paired the Gryphon with (I'm not an Apple user so I can't test it on those devices though).


COMPARISONS

The Chord Mojo 2 is more neutral and slightly more technical, with better soundstage and imaging.

However, the Mojo 2 has EMI with some phones, and has no Bluetooth function. Importantly, it does not have a balanced output! So for folks who have gear that are primarily terminated in balanced, that might be a bummer. Lay consumers who want convenience with Bluetooth gear might also have to look elsewhere from the Mojo 2. From a versatility and practicality standpoint the Gryphon is a better device IMHO.


CONCLUSIONS



Be it as a DAC, amplifier, pre-amp or Bluetooth device, the Gryphon is a literal swiss army knife portable source that can do most departments to a high level. Build and battery are more than adequate, with decent power on tap to deal with transducers other than demanding tough customer outliers. The Gryphon supports various Bluetooth and music formats, in addition to having filters and bass/soundstage boost options.

I quite appreciate that this device does not get hot during listening, and it has a low output impedance and an in-built iEMatch to cope with finicky low impedance/high sensitivity gear, thus increasing compatibility. Listeners will be greeted with a lush warm-neutral pleasant sound, with great imaging and layering, and top-notch timbre. The Gryphon synergizes well with bright headphones and IEMs, letting one chill to music for hours on end!

There are some areas for improvement, namely, the snail's pace for charging, occasional Bluetooth stuttering and drop-outs, and perhaps very demanding transducers may not be adequately juiced. Additionally, this DAC/Amp is coloured, so folks wanting a dead neutral or brighter source might need to consider alternatives.

Those are small nitpicks in the big scheme of things, and the Gryphon is an excellent all-in-one equipment that audiophiles and lay consumers should consider getting. I am quite sad sending this loan unit back after the review, perhaps I might purchase this baby at the next sale!

DISCLAIMER

I would like to thank Simgot for providing the EA1000 Fermat.

It can be gotten here: https://www.linsoul.com/products/simgot-ea1000-fermat or https://samaudiosg.com/collections/all-products/products/sg-simgot-ea1000-fermat-flagship-dynamic-driver-iem (no affiliate links).




SPECIFICATIONS

• Driver configuration: 10mm dynamic driver (DD) + passive radiator (PR) driver
• Impedance: 38 Ω
• Frequency response: 20 Hz - 20 kHz
• Sensitivity: 127 dB/Vrms
• Cable: 2-pin, 0.78 mm; silver-plated OFC Litz cable
• Tested at $219.99 USD

ACCESSORIES



Other than the IEM, these are included:
- 6 pairs of silicone eartips
- 3 pairs of tuning nozzles
- Nozzle rings
- Cable
- Carrying case

For a $200ish set, the accessories are acceptable, though there is a glaring lack of eartip variety. Gear at this price bracket also may incorporate a modular cable, which is absent here.




6 pairs of silicone tips are included (there are duplicates of S/M/L sizes). These silicone tips are pretty serviceable, though there are no foam tips.




The tuning nozzles add versatility to the tonality, and they operate via a screw-on mechanism. We will talk more about them in the following sections. Nozzle identifier rings are also included as a nice touch, to identify the sides.




The stock cable is a silver-plated OFC Litz cable. This is unfortunately not modular, but is very nice haptically. It is well-braided with a chin cinch, with minimal microphonics. 2-pin cables are always my preference due to horrible experiences with dodgy MMCX connectors.




A silver leatherette case completes the accessory line-up. This case is semi-rigid, and has a magnetic clasp. The innards are soft and lined with webbing.

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 shells are a real looker, featuring a mirror-like metal surface, with a crystal faceplate. Build is very solid, though the shells can potentially be scratch magnets or fingerprint magnets, so do baby them.




Weighing in at about 11 g apiece, the shells are extremely ergonomic and well fitting, with no weird protrusions on the inner aspects to poke the ears. I could wear the EA1000 for hours without discomfort.

Incorporating vents, isolation is below average. Thankfully, I did not encounter any driver flex on my pair.




DRIVABILITY

I tested the EA1000 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 Fermat is easily driven even off the weakest of sources.


INTERNALS/TUNING NOZZLES

The EA1000's engine is a unique DD + passive radiator (PR) setup.

A second-generation dual magnetic and dual chamber 10 mm full-range dynamic driver with a 6 mm composite diaphragm is the main workhorse. Simgot advertises that it was manufactured via sputter-deposition technology, and this diaphragm is optimized to generate a high magnetic flux.




The addition of a PR - which can be seen above on the "R" and "L" markings of the shell - is supposed to improve bass texturing and heft. Indeed, on listening, the bass is toned, with solid quality and timbre.

This IEM's selling point is the 3 tuning nozzles, which have different damping and cavity materials.



As such, they vary the sonics along a spectrum of Harmanish tonalities, subtly affecting the upper mids and lower treble:

Graph of the Simgot EA1000 via IEC711 coupler. 8 kHz is a coupler peak.

The black nozzle bestows the brightest tuning, with the thinnest note weight. Trebleheads will love this configuration, though it is not for the treble-sensitive. Technicalities are understandably the best with this setup.

The gold nozzle is a bit sharp at the upper mids, but the treble tails off the most thereafter. Vocalheads may appreciate this nozzle, though it may sound a bit shouty, especially at louder volumes.

The red nozzle has a more sedate upper mids peak, but has greater treble extension than the gold one. Personally, this is my favourite setup, as it banishes most of the shoutiness away, yet maintains great air and sparkle in the treble.

Do explore the various tuning nozzles on offer and see what suits your sonic palette.


SOUND & TECHNICALITIES

The following impressions will be made with the red nozzle installed.

The EA1000 is mid-bass focused, with the bass just north of neutral. The added PR tech does seem to add some heft to this region, with decent sub-bass extension. However, it isn't a basshead IEM by any means. What the EA1000 cedes in bass quantity, it aces in quality. The bass is well-textured, with solid speed and nimbleness. There is no mid-bass bleed.

The lower midrange is a tinge depressed, but not by too much. Without any big bass encroachment, it is relatively transparent. With the red nozzles on, the upper mids sport a 9ish dB ear gain, which allows vocals to be showcased, without veering too much to shouty territory.

The Fermat's lower treble continues on from the upper mids boost, and thereafter gives great extension into the upper registers, with much air and sparkle heard. There's admittedly slight sibilance, and perhaps our treble-sensitive brethren might want to keep to the gold nozzle in place if treble zing is an issue. Trebleheads will have a field day with the EA1000's extended treble, which adds a lot of resolution to the table.

As discussed, other nozzles may be more zealous in the upper mids and treble, and I feel the red nozzles are the best midpoint of furnishing clarity, without erring to the side of fatigue. However, treble and upper mids perception varies on a few factors, such as hearing health, ear anatomy (pinna gain), eartip choices, volume played at (Fletcher Munson curve) and even sources, so YMMV.



In keeping with its single DD roots, timbral accuracy is spot on, and there should be no complaints in this area.

Amongst the $200ish DD containing sets, the Fermat is arguably class-leading in technicalities and resolution. There's superb transients and clarity, with globs of micro-detail on tap. Imaging is very well done, and soundstage is spacious in all 3 dimensions. This aids in layering and instrument separation, and the EA1000 handles complex tracks and competing riffs with aplomb.

Despite the stellar technical chops, the EA1000 does not commit the cardinal sin of sounding sterile or analytical, which is a really tough line to balance! It is very coherent sounding, and nicely melds the 3Ts of timbre, tonality and technicalities into the soundscape.


COMPARISONS

Comparisons were made with other DD containing gear residing around the $200 USD range.


DUNU Falcon Ultra


Graph of the DUNU Falcon Ultra via IEC711 coupler. 8 kHz is a coupler peak.

The Falcon Ultra has 2 tuning nozzles to provide a pleasant warm Harmanish tone versus a more laid-back bassier fare.

On all tuning nozzles, the EA1000 beats the Falcon Ultra in technical chops - imaging, micro-detailing, soundstage and instrument separation are ahead on the Fermat. The EA1000 also has a tighter and faster bass, with greater treble extension and sparkle.

The Falcon Ultra however, has a thicker note weight with a more relaxing treble/upper midrange. The Falcon Ultra is thus more suited for the treble-sensitive listener or for bass-lovers. Both sets are solid in timbre and are easily driven.

The Falcon Ultra comes with a nicer accessory package, with a modular cable to boot. However, it also has a mirror-like finish that may be prone to smudges and scratches.



Tanchim Oxygen

The venerable Oxygen is the $200 band single DD gatekeeper. It follows the Harman curve, though the Oxygen has more sub-bass. The Oxygen is more sedate in the upper mids/lower treble as compared to the Fermat.

Technicalities go to the EA1000, with the Oxygen lagging slightly behind in soundstage, instrument separation and micro-detailing.

The Oxygen is harder to drive, and it does not have tuning nozzles. The Oxygen is also fussy with fit, due to short stubby nozzles, and some users might need mods of aftermarket longer tips to salvage the fit.


Final Audio E5000

The E5000 is a bullet-shaped single DD which is L-shaped in tonality It has a way more massive bass, and a darker treble. The E5000 has a thicker syrupy note weight, with poorer air and treble extension.

The E5000 is a league behind in technicalities, with a more claustrophobic soundstage, and poorer micro-details and imaging.

The E5000 is one of the most difficult IEMs to drive due to a low sensitivity, and most portable sources cannot do the sonics justice - it is not a matter of volume, but if under driven, the E5000 sounds very bloated and untextured in the bass. The Fermat is a breeze to drive in comparison, with no robust amplification requirements.


CONCLUSIONS



The Fermat may very well turn out to be one of the new $200 range benchmarks for a DD set. Granted, it isn't a pure single DD (due to the addition of a PR which adds to bass texturing and tone), but the EA1000 definitely keeps the strong suits of a single DD such as coherency, timbre, and a natural bass.

Where the Fermat is different - and in a positive way - from the usual single DDs, is in its class-leading technicalities. It handily outperforms the usual gatekeepers like the venerable Tanchjim Oxygen in this department. The spacious soundstage coupled with excellent resolution will bring a smile to detail-heads, with a fast and clean bass, and an airy treble. Many technical sets swerve to the extreme of being sterile or overly analytical, but the EA1000 does not suffer from this, thus preserving musicality in the sonics.

The Fermat has beautiful mirror-like shells, though do watch out for scratches or fingerprints. It is easily driven, and the addition of 3 tuning nozzles for consumers to vary the upper frequencies is invaluable. Speaking about treble, the EA1000 is perhaps not for the treble-sensitive on some nozzles, though tip-rolling or source rolling or playing with the various nozzles might help mitigate this. Foam tips would have been a great addition to tame the treble, but we sadly only have one eartip choice in the packaging.

By and large, the Fermat amalgamates the 3 Ts of tonality, timbre and technicalities into an aesthetically pleasing shell, and is a really solid contender, unless if you are basshead or highly treble-sensitive.

DISCLAIMER

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

The ThieAudio Hype 4 can be gotten here: https://www.linsoul.com/products/thieaudio-hype-4 (no affiliate links).




SPECIFICATIONS

Driver configuration: 2 x 10 mm composite dynamic drivers (isobaric arrangement) + 2 x 26A Sonion BAs for midrange + 2 x Sonion E50 Hummingbird ultra-tweeter BAs
Frequency response: 10 Hz - 22 kHz
Impedance: 17 Ω
Sensitivity: 105 dB
Cable: 2-pin, 0.78 mm; silver-plated OCC cable
Tested at: $399 USD


ACCESSORIES

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

The accessory spread is serviceable, with both foam and silicone tips accounted for. Though perhaps at this midFI pricing, consumers would have preferred a wider selection of silicone tips, or even a modular cable.




The foam tips tame treble and provide the best isolation. The silicone ones are a bit more balanced sonically, though with a slight drop in isolating properties.




The stock cable is a 2-pin silver-plated OCC cable, and this is well-braided and supple. Microphonics are minimal, and it has a chin cinch. This cable only comes in a 3.5 mm termination.




The zipper semi-rigid carrying case is one of the most practical ones in the industry, being of sufficient size to store the IEM with accessories to boot. The insides are lined with a velvety material and webbing.

Lastly the cleaning cloth may be useful for wiping smudges and debris off the IEM.

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 resin. When placing an order, one can opt amongst a blue, white or black faceplate.

Comfort is excellent - the lightweight shells and lack of protruding innards make this IEM a great companion for marathon listening sessions.



The Hype 4 isolates well, even in noisy environments. Unfortunately, I found driver flex with the silicone tips, but this is partially dependent on ear anatomy and types of tips used. Thankfully, when converted to the foam tips, driver flex is lessened; another trick to mitigate this is to lift up the earlobe and open the mouth before inserting the IEM.




INTERNALS

The Hype 4 packs an eclectic array of drivers:
- 2 x 10 mm composite dynamic drivers - arranged in an isobaric arrangement which ThieAudio names "IMPACT SQUARED" - furnish solid bass texturing and a huge sub-bass rumble.
- 2 x 26A Sonion BAs assist with the midrange
- 2 x ultra-tweeter Sonion E50 Hummingbird BA takes care of the upper treble


DRIVABILITY

I tested the Hype 4 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 relatively easy to drive, with no true requirement for amplification.


SOUND & TECHNICALITIES


Graph of the Hype 4 via IEC711 coupler. 8 kHz is a coupler peak.

Tonally, the Hype 4 can be described as having a warm U-shaped profile.

The Hype 4 has a sub-woofer like sub-bass. This is impactful - courtesy of the isobaric implementation - with a massive visceral rumble noted. Texturing is quite well done, with moderate bass speed. With such copious bass on offer, there inevitably is some element of mid-bass bleed noted, but this gives lots of heft and warmth to the note weight.

The lower midrange - as mentioned - is lush and thick, though with no excessive loss of transparency. This region isn't too depressed too, unlike some other deep V-shaped tunings. For the anti-pinna gain gang, I'm glad to report that the Hype 4 has just a 7 dB rise in the upper mids, which translates to forward vocals without much shoutiness.

The Hype 4 is relatively sedate in the treble, with no sibilance. Thus, it is a suitable IEM for our treble-sensitive friends. Trebleheads might want to look elsewhere though.

The Hype 4 has a small whiff of BA timbre in the treble regions - notes have some hollowness compared to the DD notes - but it isn't the most egregious compared to other BA containing gear.

Technically, the Hype 4 would be classed as above average. Micro-detailing and instrument separation are decent enough for something that is not steroid-boosted in the treble. Soundstage is positioned slightly out of the ears, with solid imaging. The technicalities are more than serviceable for a hybrid, taking into consideration that this is not an analytical set, but something that sounds "musical".


COMPARISONS

Comparisons were made with other hybrids at the MidFI region. Planars, tribrids, single DDs and pure BA types were left out of the equation as the different transducers have their pros and cons.


ThieAudio Hype 2


Graph of the Hype 4 versus Hype 2 via IEC711 coupler. 8 kHz is a coupler peak.

We kickstart the comparisons with the Hype 4's own older brother, the Hype 2. The Hype 2 also sports 2 x 10 mm DDs in an isobaric arrangement for the bass, but it only has 2 other Sonion BAs for the midrange and treble.

These 2 IEMs share a similar tonal DNA, but the Hype 2 is a bit thinner in the mid-bass, with more lower treble (but less upper treble).

The Hype 2 has weaker soundstaging, treble extension, imaging and micro-detailing. Overall, the Hype 4 is a true upgrade over its sibling.


Letshuoer Cadenza 4


Graph of the Hype 4 versus Cadenza 4 via IEC711 coupler. 8 kHz is a coupler peak.

The Cadenza 4 has less bass and treble than the Hype 4. The Cadenza 4 sounds thinner and more sterile, lacking the bassy sub-woofer fun of the Hype 4.

The Cadenza 4 has a faster bass, though it has markedly less rumble. The Cadenza 4 has poorer soundstaging, but has better imaging. Micro-detailing is about on par.


QOA Aviation


Graph of the Hype 4 versus QOA Aviation via IEC711 coupler. 8 kHz is a coupler peak.

The Aviation is a U-shaped hybrid. It has a thicker lower midrange but a much darker treble.

The Aviation is a league behind in technical aspects, losing to the Hype 4 in soundstage, micro-detailing and layering. Bass is also looser and flabbier on the Aviation.


CONCLUSIONS



The Hype 4 is a musical hybrid for head-banging fun, bestowing a visceral rumble in the sub-bass. The midrange and treble are non-fatiguing and smooth, thus being suitable for treble-sensitive preferences. These sibilant-free sonics, coupled with an agreeably lush note weight and ergonomic fit, means that the Hype 4 can be enjoyed for long listening sessions without outstaying its welcome.

Some IEMs that are bassy and smooth sometimes veer to the other extreme of being weak technically. Thankfully, the Hype 4 still boasts of above average technical chops to pair with the laid-back profile, such that it doesn't sound analoguish.

I appreciate that the excellent isolation also makes this set an option for stage monitoring or for use in noisy environments.

There are some nitpicks - such as mild BA timbre, driver flex (which may be fixed with the provided foam tips), and mild mid-bass bleed - but all thing considered, the Hype 4 gets my recommendation for an enjoyable bassy set with good balancing between technicalities and musicality.

DISCLAIMER

I bought the KA13 at a discounted price from Fiio. It can be gotten here: https://www.aliexpress.us/item/3256805865925636.html (no affiliate links).





SPECIFICATIONS/COMPATIBILITY

- DAC chip: dual CS43131
- Op-amp: dual SGM8262
- Dimensions: 56.3 x 22 x 10.5 mm
- Weight: 18.5 g
- Supported audio formats: up to 384kHz/32bit, DSD256
- USB connector: Type-C USB 2.0
- Ports: 3.5 mm (single-ended), 4.4 mm (balanced), 3.5 mm coaxial out
- Output power (single-ended): L+R ≥170 mW +170 mW (32 Ω/THD+N＜1%)
- Output power (balanced): L+R ≥ 550 mW + 550 mW (32 Ω/THD+N＜1%)
- SNR (single-ended): ≥123 dB (32 Ω/A-weighted)
- SNR (balanced): ≥ 122 dB (32 Ω/A-weighted)
- Noise floor: PO＜1.7μV (A-weighted); BAL＜3.1 μV (A-weighted)
- Output impedance (single-ended): ＜1.7 Ω (32 Ω load)
- Output impedance (balanced): ＜1.8 Ω (32 Ω load)
- THD+N (single-ended): ＜0.0005% (32 Ω)
- THD+N (balanced): ＜0.0005% (32 Ω)
- Tested at $75.99 USD


The KA13 supports various file types and sampling rates:
PCM: 384kHz/32bit
DSD DoP: 64/128
DSD Native: 64/124/256
Coaxial: 384kHz/32bit

It is also compatible with the Fiio Control app (on Android devices), where one can play around with settings such as digital filters, change lighting options and SPDIF outputs. On Windows 10 and above, the KA13 is plug-and-play, with no need for installation of additional drivers.


ACCESSORIES

Other than the KA13 dongle, these are included:
- 1 x USB-A to USB-C cable
- 1 x USB-C to USB-C cable
- 1 x lightning to USB-C cable



The accessories are pretty generous. Many dongles do not include lightning adapters, so our Apple users out there will be chuffed to note that Fiio has included one here. Basically other than legacy phones that use micro-USB ports, most other Android and Apple phones and laptops should be covered in terms of compatibility.

For folks who want to get a leather case for the KA13, this is sold separately by Fiio at $4.99 USD here: https://www.aliexpress.us/item/3256805892786925.html


DESIGN/FUNCTION

Fashioned from CNC metal, the KA13 comes in a sleek rectangular body. Consumers can opt between a silver or black hued variant during ordering.



The design is quite futuristic looking, with a large "X" carved onto the chassis.

This DAC/Amp is sturdy and robust, no complaints from a build point of view. Measuring 56.3 x 22 x 10.5 mm
and weighing in at 18.5 g, it is small and extremely portable.

There is a anti-scratch glass panel on the top of the dongle, where one can see an LED light, which changes colours depending on the file format/bit rate:
- Blue: 48 kHz and below
- Yellow: Above 48 kHz
- Green: DSD

On one end of the fuselage, we have the 3.5 mm (single-ended) and 4.4 mm (balanced) ports. The 3.5 mm port also functions as a 3.5 mm coaxial out.




On the opposite end, we have the USB-C port for powering this baby.




On the side, we have the volume controller, which also functions as a skip track button if held longer. Once a firmware update is applied, the KA13 boasts of an independent volume controller, something that even higher-end dongles like the Questyle M15 do not have. The volume steps are quite fine, unlike some other dongles that have too wide steps.



Also on this side panel, is the KA13's secret sauce - the desktop mode ("D. mode") button - which we will talk about in the following section.


SOUND/PERFORMANCE

I tested the KA13 with a few 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 dongle is quite neutralish; it doesn't overly colour the frequency response and lets the connected transducer do the colouring. There is good sub-bass and upper treble extension. Timbre is quite natural without being overly sterile, though note weight is a tinge on the thinner side; one can play with the filters on the Fiio app to perhaps adjust this area to your liking.

The KA13 is quite technical for a sub-$100 dongle - acceptable micro-detailing, accurate imaging and superb instrument separation greets the listener. Soundstage is about average in depth but is above average in width, and nothing sounds congested or compressed, even on complex tracks with competing riffs.

This DAC/Amp has 3.5 mm (single-ended) and 3.5 mm coaxial out, with a 4.4 mm balanced port if more power is desired. Indeed, on the desktop mode, this dongle can output a whopping 550 mW!! That's even more than some DAPs can provide, and it handily beats most other dongle competitors in this area! Understandably, the massive power may be an overkill for regular IEMs, so no biggie toggling off the desktop mode unless you have low sensitivity +/- high impedance transducers to drive.

My usual acid tests for sources 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)

I'm glad to report that on desktop mode, the KA13 drives these 3 behemoths well, without needing to crank up the voume. When underpowered, these transducers will sound bloated and one-noted in the bass, with a lack of dynamics. The KA13 powers these tough customers quite well, almost equivalent to some desktop amps. Most portable sources cannot drive the Yinman 600 ohm properly, so kudos to Fiio for creating so much power inside a little device. A literal Mighty Mouse!

This dongle doesn't hiss even with fussy high sensitivity IEMs, but it has an output impedance of 1.7 ohms on single-ended and 1.8 ohm on the balanced port. Hence, the KA13 may not be be the best pairing with fastidious low impedance IEMs such as the infamous Andromeda (based on the rule of eights), as the frequency response might be skewed with IEMs that have an impedance of < 13ish ohms.


POWER CONSUMPTION

We can't go against physics, and with big power on offer, there is unfortunately going to be some form of battery drain. These are the advertised specs for power consumption, which is a bit more than regular dongles:
- 140 mA (standby)
- 150 mA (PO/40 mV)
- 150 mA (BAL/40 mV)

Bear in mind once again, that the 550 mW output of the KA13 is one of the best in the market for a budget dongle, and this nifty device can give more expensive and larger sources a run for their money in terms of sheer power output.

It behooves the user to probably keep to the regular mode on-the-go or with a phone, or if one is just using run-of-the-mill IEMs; users can reserve the desktop mode for PCs/laptops where there is a power supply on hand, and you need to drive demanding transducers. You should also not leave the dongle on standby mode as there is still power draw even if no music is played through it.

During usage, especially on desktop mode, the KA13 does get slightly warm, but not scalding (unlike some other power hungry dongles).


COMPARISONS

Comparisons were made with some other dongles residing in the $50 - 100 USD range.


Truthear Shio

The Shio's engine is a dual Cirrus Logic CS43198 chip. This dongle is warmer in tuning, with a more pronounced mid-bass, and some treble roll-off. It has a thicker note weight too.

The Shio is a league behind in technicalities, with inferior soundstage, imaging, edge definition, micro-details and instrument separation. It has less power on tap too.


E1DA 9038D

The E1DA dongle houses an ESS Sabre ES9038Q2M chip. It is dead neutral and more sterile in note weight. The E1DA is a bit harsher and more sibilant in the treble.

The E1DA has quite a lot on power on tap for a single-ended source (200 mW @ 40ohm), though it pales in comparison to the desktop mode of the KA13. The E1DA also gets noticeably much hotter than the KA13 during usage.

The E1DA unfortunately does not have a volume controller, 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.

Both dongles are similar in technicalities, though the E1DA is a tinge smaller in soundstage width.


Colorfly CDA M1

The CDA M1 utilizes a customized ESS DAC chip, the Colorfly α. It is also a neutralish dongle, with 3.5 mm and 4.4 mm outputs. Likewise, it has independent volume controls that are quite fine-tuned.

The M1 does not have as much power (hitting 200 mW @ 32Ω on balanced), but it has slightly better instrument separation and micro-detailing. Soundstage is a hair better on the KA13.



CONCLUSIONS

The KA13 is not just a vapid weekly dongle release for regular IEMs and easy to drive transducers. On desktop mode, it is transformed to a Mighty Mouse that can trump some pricier and larger sources in terms of absolute power.

Indeed, at the point of writing, the KA13 is a benchmark for the sheer amount of power it brings to the table, and in such a compact Lilliputian form! I am pleased to have finally found a portable source that does justice to demanding gear like the Final E5000, Sennheiser HD650, and the notorious Yinman 600 ohm.

The KA13 has solid build and is very portable, with generous accessories and a fine-tuned independent volume controller. Technical chops are nothing to be sniffed at, and it is quite neutralish, so as to let the connected transducer do the imbuement. I do not note any hiss with high sensitivity suspects, though the highish output impedance on both ports is perhaps not the best synergy with some finicky IEMs.

The huge power on tap will definitely contribute to some battery drain on phones, but this can be mitigated somewhat by toggling off the desktop mode when using the KA13 with regular IEMs, and only utilizing the desktop mode once there is a charging source nearby.

The KA13 is one of the outstanding budget dongles I have had the chance to listen to in my audio journey, and it wholeheartedly gets my recommendation, the exception perhaps being audiophiles using some outlier low impedance transducers like the Andromeda.