TempoTec V3: My First DAP Review



Intro

Digital Audio Players or DAPs are devices similar to the famous "MP4" players we used as kids but designed with a clear audience in mind: music lovers. That's why they offer high-resolution codecs, different types of outputs capable of delivering a significant amount of power and various conveniences like equalizers and streaming services.

Today, I'm going to talk to you about my first DAP. Thanks to TempoTec, I will be evaluating and informing you about the TempoTec V3, a recently released DAP positioned as a more affordable and simplified alternative compared to the well-known TempoTec V6, with a retail price of $200 USD but available for a discounted price of $160 USD on TempoTec’s Aliexpress page.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• I want to express my gratitude to the TempoTec staff who contacted me and sent me this sample of the V3 in exchange for my honest review.
  • You can find the V3 here: TempoTec’s Official Website - TempoTec on Aliexpress
• Analysis conducted over 7 days
• All music is lossless (Qobuz/Tidal > 16bit – 44.1kHz)
• Equipment Used: Samsung A50 – Personal PC

Unboxing & Build Quality





The TempoTec V3 DAP is presented in a simple box that is surprisingly spacious for the size of the device. It includes a manual, quality control certification, two protectors (one for the screen and another for the back), a USB-C to USB-A cable, and the V3 itself.



The DAP has a construction of good-quality plastic, a considerable weight which is not unbearable (166.5g), and a small size, although the device feels bulky compared to a modern smartphone due to its thickness (Length = 10cm – Width = 6.5cm – Thickness = 1.7cm).



The back is laminated with a glass-like material that quickly attracts fingerprints, so it's advisable to use a case with the V3.



The front, which is the most important part, features a 3.2-inch HD screen and three buttons (previous song/rewind on the left, play/pause in the middle, and next song/fast forward on the right).



Additionally, there are three buttons on the right side of the device, from top to bottom (on the image from the right to the left), serving the following functions: power on/lock and screen unlock, volume up, volume down. On the same side, there's an LED strip that provides visual information to the user about different sound resolutions and functions, as seen in the image below.



On the left side, there's the slot to insert the Micro SD card. I don't usually make many comments in this segment, but I believe the design has a flaw. The slot is too deep to comfortably insert the card, so I have to use a thin and long object like the base of a needle to insert it correctly.



Finally, the bottom of the V3 offers a 4.4mm balanced output (left), a 3.5mm unbalanced output (right), and the charging port (center).





Technical Specifications

Beyond its weight and dimensions, the V3 offers several appealing features for its $200 USD price tag. It incorporates two AK4493SEQ DACs, Bluetooth 5.1 with support for LDAC codec, allowing for high-resolution wireless music enjoyment, and a WiFi chip capable of recognizing 2.4 GHz networks. Inside, it houses a substantial 3500mAh battery.

Regarding its power output for headphones, the 3.5mm output can deliver up to 330mW@32Ohms, while the 4.4mm balanced output reaches a high gain of up to 610mW@32Ohms, making the V3 a viable desktop equipment option.

Finally, the V3 offers various high-resolution codecs such as DSD 512, MQA 16X, and PCM up to 32Bit/768kHz.



Functionality

As a prelude, I want to reiterate that this was my first experience with a DAP, so what I'm going to write should be viewed more as the perspective of a beginner user in this regard.


Interface and Firmware

UPDATE: On 02/02, TempoTec released firmware version 1.0 on their website, addressing several issues listed below, such as sending music via WiFi (still very slow and prone to failure in my case). Now, album covers appear as screensavers. New changes have also been added, which you can read about on their page: https://www.tempotec.net/pages/firmware-download


The V3's interface is a customized version of Hiby OS by TempoTec, unlike its larger sibling, the V6, which runs on Android 8.1. For someone like me, so accustomed to Android, it feels quite basic but functional. There are only six categories: "Music", "Stream media", "Wireless", "Books", "System" and "About". I believe they are self-explanatory, but let me delve into the content of some to make it clear:


"Music" includes all the songs on the inserted micro SD card.


"Stream Media" provides apps like Tidal and Qobuz for streaming (only with WiFi).


"Wireless" has various functions like Bluetooth and WiFi connections, along with other methods to transfer music to the V3, such as Airplay and DLNA.


"System" contains all the settings that can be adjusted on the DAP, such as brightness, screen-on time, turning on/off the LED strip, among many others.


The firmware version on the V3 I received is 0.3, and unfortunately, I cannot update it to the latest version via OTA as the device throws an error every time I attempt it. In this version, I encountered several issues that I hope can be addressed in future updates:

• The function of using an album as a screensaver is completely bugged, showing only a clock and the name of the last played song
• Failure in firmware update via OTA
• When using streaming apps, the WiFi chip is unable to maintain a stable signal, resulting in micro-cuts if the connection is not perfect (4 bars)
• Tidal playlists cannot be played. The device restarts each time I try to access the playlists I have in favorites
• The link provided by the function to import music via WiFi takes me to a page I cannot connect to and is marked as an insecure site

These are the significant firmware issues I found, but there may be more that I am not aware of. Fortunately, all the albums on my micro SD card were recognized, and I had no issues with music files, as reported by other users.

Lastly, despite not being someone who uses EQ on a daily basis, I believe it is one of the most attractive features of the V3. It has an equalizer with various presets available, as well as the MSEB, a proprietary EQ application by Hiby. This allows for changing the sound signature through parameters like "Bass Extension", "Bass Texture", "Vocals", among others, enabling high customization of a headphone’s tuning to your personal preferences.


Important Noise Floor Issue with WiFi Enabled

This problem is the most severe one I encountered on my device*, and it took me quite some time to find a solution. I'm not aware of the specific reasons why this happens, but the noise floor is overwhelmingly bad when the V3's WiFi is turned on (static/interference + hiss). This affects both the balanced and unbalanced outputs, as well as any mode in which the device is being used (Bluetooth, micro SD, DAC with a PC). The solution is as simple as disabling WiFi when listening to music, but this limits the possibilities of using the included Qobuz and Tidal apps.

* I emphasize on this as the issue could be specific to my unit, although asking on head-fi forums, some users agree that the WiFi chip is weak in maintaining a stable signal.


Music via Micro SD

This was one of the best experiences with this device, as it was simply a matter of inserting the micro SD, connecting a pair of headphones, and starting to enjoy. The process is straightforward: after the V3 detects the card, you need to use the "update database" function found in the music settings to find all available albums. After that, you can browse music by album, artist, or genre.


Music via Streaming Apps

My tests were conducted using Tidal. Connecting to the account is simple: you can scan a QR code or enter the link displayed on the device, then link the account to the V3, and you're ready to go. As you may have read, the issue here is that if you don't have a perfect internet connection at all times, you may experience stuttering or microcuts during playback of different artists. It's a shame as it limits its usability.


Music via Bluetooth

The device's Bluetooth chip is highly competent and provides a flawless experience when connecting the V3 to other devices like smartphones. In my case, this was the best way I found to use my streaming services since the ones included with the DAP suffer from the aforementioned connection problem. Furthermore, with LDAC support, the resolution experiences minimal compression, resulting in an extremely satisfying listening experience. Lastly, the range of this connection is exceptional, reaching up to six meters away with walls in between without any interruptions.


Music using the V3 as a Desktop DAC



Another benefit of this versatile device is its ability to be used as a DAC for your PC, laptop, or even a smartphone, in case you don't want to use the Bluetooth connection. Just go to the "System" section and change the "USB device mode" setting to "Audio" so that when the V3 is connected to another device, it is recognized as an audio interface. Apart from these simple steps, the experience is Plug & Play, as no specific drivers need to be downloaded. The playback of music and other sounds such as podcasts or videos is clear and with minimal noise floor. Also, you still have access to all the high-definition codecs that the V3 supports (MQA, DSD).



Power

Two key evaluations for me were conducted using the LETSHUOER S12 PRO and the Hifiman HE400SE, both planar headphones.

The first of these two was easily amplified by the unbalanced 3.5mm output and didn't see as much benefit from the 4.4mm output. It maintained dynamics, bass punch, and extension in the highs.



The Hifiman over-ear headphones really push devices to their limits, so it would be ideal to opt for the 4.4mm output. Unfortunately, I don't have a compatible cable with balanced outputs, so I used the headphones with the 3.5mm output and the gain set to "High." Despite the HE400SE reaching a more than acceptable volume level, it's noticeable that the bass lost some of its dynamism, and overall, the weight of the notes suffers quite a bit as it cannot provide the necessary energy to its planar magnetic drivers. I'm confident that if I could test the balanced "High Gain" output, the V3 would be able to drive these headphones without issues.

In this section, I also want to add that the device warms up a bit when pushed or used for an extended period, but it never reaches uncomfortable temperatures that doesn’t let you hold it in your hands.



Sound Profile

Before the firmware update, the sound of the TempoTec’s DAP was extremely neutral and even reminded me of the Sonata HD PRO from the same brand, which presents each headphone in its purest form.

The firmware 1.0 brought a change in the sound profile of the V3, making it more focused on the mids or mid-centric, which I confirmed by listening to two specific albums: "25" by Adele and "Romanza" by Bocelli. Even in songs with a good presence of bass like "I Miss You", the vocals and instruments in the midrange (piano, drum toms and violins) had a significant prominence that made them stand out. The micro and macro details of instruments are perceptible, but this orientation toward the midrange shifts TempoTec’s DAP from an analytical tuning to a more musical one.

Finally, one specific thing I noticed about the V3's DAC is that the soundstage is slightly compressed, at least compared to my usual desktop setup (iFi Zen Air Can + FiiO E10K), which deducts a few points from the V3.



Battery

The last aspect to analyze and one that I must emphasize is the battery life of this device. I presented an extreme scenario where I didn't turn off the V3 until it completely drained its battery and managed to get about four days of use with short music sessions (1 to 2 hours per day), along with WiFi and Bluetooth turned on. Assuming this was a real scenario and a person had longer listening sessions, it's easy to estimate that the battery could last around two or three days. However, with the automatic turn off function that the V3 has ("Idle timer"), which I disabled for the scenario mentioned earlier, it's more than possible for the DAP to last around five or six days without any issues.



On the other hand, the bad news is that the charging speed of this device is slow compared to more recent technology. I used the same 10-watt charger that I use for my phone to charge it, and the V3 took 3 hours and 49 minutes to go from 0% to 100% (Samsung A50 charges in approximately 1 hour and 50 minutes, despite having a 500mAh larger battery). I understand that the offered usage time is substantial, but for me, it doesn't justify such slow charging times.



User Experience and Conclusion

There is much to analyze about my evaluation period of the V3. There were certain moments when frustration was high, but this also made finding solutions generate feelings of relief and joy. I'm specifically referring to two particular facts: first, the WiFi connection and how it ruins the sound of the DAP. In the first few days, I couldn't understand why that unbearable noise floor was present in any song I played until on my third day, after factory resetting the device and using it without connecting to any network, voila, as if by magic, everything worked perfectly. The second issue was the software update failures, and I'm glad TempoTec is working on this and has fixed functions that sometimes didn't work at all (song albums as lock screen background), although the lingering disappointment is that updates still cannot be done via OTA on my device.

As you can understand, my experience was far from perfect, and a significant negative point is the WiFi chip failure in my unit, which prevents the use of Tidal and Qobuz apps. This removes an important part of what the V3 package offers, and for many users who rely on these platforms for streaming, it could be a crucial factor in choosing not to opt for this device.

Before the firmware update, my original rating was three and a half stars. However, considering that TempoTec is committed to improving the user experience with its interface, I believe I can give them my recommendation if streaming is not your primary focus. It becomes even more recommended when the V3 is on discount; it could be obtained for $139 USD at one point. Obviously, the missing star to consider it a perfect DAP is due to the WiFi not working properly in my case and some other nitpicks like the slow charging times, but the four stars are well-deserved given how its multiple purposes amazed me. It's a device that I'll start using for my future reviews.

CCZ Melody: For Bassheads but with Flaws



Intro

CCZ is a brand focused on budget IEMs, and today I have the pleasure of informing you about their model Melody, available at KeepHifi for $23 USD. In this case, we'll be looking at how the USB-C version of the Melody performs and I’m excited because I've read many positive reviews about the 3.5mm version from other reviewers.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• Many thanks to the KeepHifi team for providing the CCZ Melody for an honest review
  • You can find the Melody here: https://keephifi.com/es/products/ccz-melody-wired-headphone?_pos=2&_sid=8ce972ca2&_ss=r
• Analysis over 4 days – sessions of approximately 2 to 4 hours each
• All music used is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: Samsung A50

Unboxing, Build & Comfort



CCZ Melody: It is a very lightweight IEM due to its somewhat plasticky construction. Although I don't consider this a major issue, I've noticed that IEMs in this price range have significantly improved their build quality, and I feel that the Melody is somewhat behind. Additionally, the area around one of the IEMs' 2pin connector receptacles is a bit loose, and it can be moved when the cable is connected, raising questions about its durability.





Despite these drawbacks, let’s talk about its driver composition. The Melody features two drivers: a 10mm dynamic driver (DD) with a dual magnetic circuit and a balanced armature (BA) custom-made by CCZ for reproducing mids and highs. Lastly, its nozzle has a diameter slightly less than 5mm.

Cable: The Melody comes with a 4N-type copper cable, OFC and featuring 4 cores. It has 0.78mm 2-pin connectors and terminates in USB-C in my case. Paying $23 USD, I find it acceptable and would say it's better than what KZ offers with their IEMs.



Eartips: According to the information provided by CCZ, the three pairs of included eartips have a design with an annular opening that allows for more three-dimensional reflected sound. Honestly, I didn't like them and will elaborate in the comfort section.

Comfort: On one hand, the lightness of the Melody model is welcome for extended use. They are somewhat bulky but comfortable in this regard. The other side of the coin is the provided eartips. I couldn't find the right size for my right ear at any point. The small size I usually use didn't fit correctly and kept falling out, while the medium-sized ones went in but gradually slipped out because my ear canal is narrower than that eartip size. Overall, the comfort is good, but in my case, it's a priority to change the eartips to preferred ones, such as the Spring Tips from Moondrop.

Driveability: The USB-C version is designed for a user-friendly experience, making it ideal for use with a smartphone. However, you can change its cable to provide more power, though there's not a substantial benefit (the soundstage opens up a bit more).



Functionality and Sound

Noise Floor

A common aspect I evaluate for both DACs and headphones with USB-C connection. Unfortunately, once again, I find myself in a situation where the noise floor is noticeable, similar to the Moondrop JIU. My typical song to check this is the silent opening of "Swan Lake, Op. 20, TH.12: Introduction" performed by the Boston Symphony Orchestra. With more energetic music, like Tiesto's album "Drive", or in situations where you use these earphones outdoors, the background noise tends to get lost amid electronic sounds or external noise. However, with music that often has passages where the volume of the instruments isn't at its peak, the noise becomes quite noticeable in my opinion.


Sound Description


Credits: Ian Fann

Bass
Two words: bass explosion. I'm sure there must be even more bass-oriented headphones, but these are among the first IEMs I listened to that deliver so much power in the midbass, reaching a literal lack of control. A superfluous punch for those who enjoy dance, dubstep and other electronic genres.

As for the subbass, its extension is average, leaning towards poor, and it is considerably overshadowed by the powerful midbass. In "Like Wooh Wooh", the kick drum that marks the tempo often sounds so strongly that it overshadows the subbass baseline present in the chorus.


Mids
When I mentioned a total lack of control in the midbass, I wasn't exaggerating, and this directly impacts the presence and naturalness of the midrange. I just used "Miss You" by Adele to confirm this: the kick drums take over the scene, leaving Adele somewhat overshadowed. Both female and male voices adopt a soft character that not even high-pitched female vocals can alter. However, vocals tend to be the elements that have the most authority in their reproduction by the Melody.

Albums like those of Sinatra, with various midrange instruments, minimal bass, and a powerful voice like Frank's, highlight that these IEMs have a certain preference for deep voices and specific wind instruments like trumpets and clarinets (although these tend to have a metallic tone from the BA). I'm surprised that despite the peak created around 3kHz, the Melody doesn't achieve a lively and tactile reproduction of strings. Tom percussion in drums suffers a similar fate.


Treble
For this section, I used a different song from the usual Tchaikovsky piece. In this case, the live version of "Live Undead" by Slayer features the song "Black Magic", which begins with the sound of an electric guitar and the constant percussion of ride cymbals. Right from this point, it's easy to notice that the air in the high-end is somewhat lacking due to the deficiency of extension in the sound of the cymbals. The brilliance of the treble is present but won't satisfy any lover of these frequencies. The combination of the mentioned characteristics results in cymbals and bells having somewhat poor definition but remaining easy to hear for users sensitive to the treble region.


Soundstage & Imaging
These are the two attributes that left me satisfied with an IEM that costs around $20 USD. Listening to the live version from Buenos Aires of "Every Teardrop is a Waterfall" by Coldplay, I could accurately perceive the distance between the audience and the stage. The width is average but adequate, as is its depth, allowing my ears to perceive a certain separation between the drums and Chris Martin, as well as the electric guitar to his left. This correct instrument separation is somewhat diminished when a commanding bass is played, as in "The Trooper" from Iron Maiden's "Live After Death", but this is not as severe as I would expect from the Melody's signature.



Comparison vs. Moondrop CHU II



These observations will be more of a summary since the signatures are different enough that it seems like comparing apples to oranges.


Credits: Ian Fann

Primarily, I believe that the tuning of the CHU II will be more sought after by a wide variety of listeners. Having a signature that is a slight V-shape but not deviating too much from Harman allows the CHU II to focus on subbass and bass as its primary strengths without neglecting the rest of the spectrum, particularly referring to the mid frequencies. Because of this, the CHU II is likely to perform better across a wider range of genres compared to the aggressive V-shaped signature of the CCZ Melody. In electronic music or genres with a considerable presence of mid bass, the Melody remains the king, but I doubt that most people dedicate their time exclusively to just one particular genre.

Transitioning to the mids, as mentioned, the CHU II has the advantage by not having a significant bleed towards this range, allowing it to reproduce mid frequencies with prominent naturalness when listening to these earphones side by side. Specifically, instruments capable of reaching high notes (electric guitars) have an extra level of definition that is very welcome in a budget IEM. It may be that the Melody's BA allows winds to sound better on this IEM, but that's the only highlight I can point out in the comparison.

The treble is extremely similar in both models: somewhat dull but safe, in my opinion. Neither stands out in this regard, both lacking micro and macro resolution.

Soundstage and imaging are the minor features in which the Melody comes out on top (although by a small margin). The stage width is practically the same, but the depth created by the Melody stands out compared to the CHU II, providing a more realistic sensation in live songs/albums. As a result, instrument separation tends to be better, and the Melody avoids falling into instrument congestion a bit better (although both struggle with orchestras, as expected).



Conclusion



Strictly speaking of the Melody, the performance it delivers is not at all bad considering its price and the targeted sound signature. For that reason, I want to make it clear that the final score and my decision to not recommend it are not solely based on a subjective preference for other types of sound signatures. Instead, the IEM's construction, some of its accessories, and a lack of refinement in its tuning prevent it from standing out in its price segment, especially given the extensive competition available today.

If you are particularly someone seeking this type of tuning and find the sonic characteristics of this IEM appealing, I would personally recommend the version with a 3.5mm connector to avoid the annoying noise floor present in the USB-C version.

Whizzer DA1: the affordable dongle that could have been the best...




Intro

Whizzer had already amazed me with its Kylin HE10, an IEM with a truly spectacular V-shaped signature that had the ability to stand out in the mid-frequencies despite the tuning. Today, I am pleased to bring you a different proposal from Whizzer: the DA1 dongle, the budget option ($27 USD) that the brand offers for listening to high-quality music.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)



Disclaimers:

• I would like to express my gratitude to the Whizzer team for sending me this unit for an honest review
  • You can find the DA1 here: https://whizzer.store/product/import-placeholder-for-882/ (Official Whizzer Website) – https://es.aliexpress.com/item/1005004290859068.html (Official Whizzer’s Aliexpress Website)
• Review based in 2-4hs listening sessions each day across 4 days
• All music used is lossless (Qobuz > 16-bit – 44.1kHz).
• Gear used: Samsung A50, PC

Unboxing, Build & Accessories







The Whizzer DA1 is the smallest dongle I own, measuring 51mm in length, 16.5mm in width, and 9.2mm in height. The DA1 is crafted from CNC-machined aluminum. It features a non-removable USB-C cable made of oxygen-free copper with 5N purity. Additionally, the product includes a USB-C to USB-A adapter, allowing the dongle to be used with devices such as PCs and laptops.



The output comprises a 3.5mm port, and on its left side, you'll find two volume buttons (the volume-up button has a small relief for easy identification without needing to look at the device). There is also an LED strip indicating the device's status (Red: paused - Blue: music playback 32/48K - Green: music playback DSD 64 - Fluorescent Green: music playback DSD 128).



Specifications



For the DA1, Whizzer employed an ESS9270 chip, which will be discussed in the "Sound Profile" segment. The maximum power the DA1 can deliver is 2Vrms with an output power of 70mW at 32ohms. Its power allows it to amplify a wide variety of in-ears, and even some over-ears, though it may struggle with demanding headphones like the Hifiman HE400SE. This limitation is quite understandable given its price. Lastly, the DA1 supports DSD 128 decoding, as mentioned earlier, and offers a resolution of up to 32 bits/384 kHz.



Sound Profile



The ESS9270 and its chip family typically have a warm signature, and the DA1 is no exception. The sound profile subtly modifies the bass by elevating it, but without unbalancing the entire spectrum or making the bass overly boomy. There is a subtle coloration from 100 to 800 Hz, adding thickness and substance to vocals and instruments with more prominent sounds in these ranges. However, it maintains the original technicalities of the headphones being reproduced. The DA1 will have better compatibility with IEMs that may have somewhat deficient low frequencies, such as the 7Hz Salnotes Zero.



Functionality and Performance (Music and Gaming)

I wanted to love the DA1 because on paper, it seemed to be a strong contender as one of the most affordable options for quality music listening. However, a problem arose. I tested this dongle with easily amplifiable in-ears, difficult-to-amplify ones, and over-ears. The issue emerged with the IEMs that the DA1 is primarily oriented towards—those with a sensitivity/impedance ratio classifying them as easy to amplify.

To illustrate, I tested the DA1 on both my phone and PC with the 7Hz Salnotes Zero (Impedance: 32 ohms – Sensitivity: 108dB/v@1kHz) and the Kiwi Ears Cadenza (Impedance: 32 ohms – Sensitivity: 110dBSPL/mW). I noticed something peculiar in songs with passages where the volume decreases significantly. In the introduction of Tchaikovsky's "Swan Lake" performed by the Boston Symphony Orchestra, there is a clear noise resembling a crackle or interference noticeable in the first 5/6 seconds when no instruments are playing yet. I managed to replicate this issue in songs from Beethoven's “Symphony No. 7” performed by the Freiburg Baroque Orchestra, indicating that this is not an isolated case of a particular song.



In Windows, when not using music players, watching videos, or engaging in situations involving sound reproduction, I noticed the return of the noise. Therefore, I wouldn't consider it ideal for use when connected without actively listening to something specific. However, when playing energetic songs without significant volume variations, the annoying noise is only very slightly perceptible. I had a great experience listening to Tove Lo's "Dirt Femme" and the DA1's signature helps highlight those bass frequencies, turning them into a delightful and notably impactful experience.

Regarding gaming, I tested the DA1 with the 7Hz Salnotes Zero while playing Overwatch 2. Despite the slightly colored bass in the sound signature, it doesn't affect the clarity of footsteps or shots and also offers good spatial awareness for the user. The annoying sound produced by the dongle is only noticeable if we pay close attention to it, and in combat situations, it won't be discernible amid gunfire and other abilities. Overall, the performance is in line with the price (excluding the unwanted noise).

Finally, I highly appreciate that Whizzer has implemented 30 volume steps for adjusting it to our preference. The downside is that these volume steps are not saved between devices. Therefore, if you use the DA1 at maximum volume on a smartphone and then connect it to a PC or another device where you had previously lowered the volume, the volume will remain at maximum. So, one must be cautious not to risk damaging their eardrums (I say this from experience).



Battery Consumption

Test Conditions:

• Smartphone: Samsung A50 with 70% battery and locked screen
• DA1 at maximum (30 steps) and 50% volume on Samsung A50
• WiFi on
• IEMs: 7Hz Salnotes Zero

Results
- Battery consumption in 1 hour = 10-12% (approximation)



vs TempoTec Sonata HD PRO



Points in favor of Whizzer DA1:

• Smaller size
• Better-defined volume steps allowing more precise adjustment to preferred volume
• LED indicator
• Contemporary genres benefit from its warm signature (Electronic, Rap, Pop)
• Dongle heats up less in comparison

Points in favor of TempoTec Sonata HD PRO:

• Removable Micro USB to USB-C cable
• Higher power (110mW@32ohms with high gain trick)
• More versatile neutral signature for different musical genres
• This unit doesn't suffer from strange noises (although it may have sporadic microcuts when changing songs)

Considering the minimal $9 USD price difference (DA1 = $27 USD / Sonata HD PRO = $36 USD), I believe it's more worthwhile to go for the more powerful and versatile option. However, if the budget is tight and the noise issue I experienced is an isolated case, I can still comfortably recommend the DA1.



Conclusion

I find myself conflicted in this review, as the performance and power of the DA1 are more than decent considering its price. However, I cannot overlook the fact that my unit has those annoying noises that I can clearly hear in songs with widely fluctuating volume levels. The score reflects my dissatisfaction with this particular aspect but it still receives a "passing grade" as I give Whizzer the benefit of the doubt and it's possible that I just happened to receive a defective unit.

Simgot EM6L: EW 200 on steroids?



Intro

Today's IEM bears the name of the Greek mythological bird Phoenix, and it makes me think that this is what Simgot has achieved this year: a rebirth from their ashes by offering excellent sonic capabilities in their latest releases. Today's EM6L (or Phoenix) is a $110 USD IEM (currently on sale for $100 USD) featuring a dynamic driver and four balanced armatures.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• Thank you very much to everyone at Simgot, especially Fia Lam, for providing me with the EM6L for writing an honest review.
  • You can find the EM6L here: http://www.simgot.com/en/products/detail/30.html#!/detail (Simgot's Official Website) - https://www.linsoul.com/products/simgot-em6l?_pos=1&_sid=d36a6a458&_ss=r (Linsoul)
• Analysis over 4 days – Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)

Unboxing, Build & Comfort







Simgot EM6L: Standard construction with a CNC-machined metal faceplate (easily gets dirty) and a 3D-printed dark-tinted resin housing. Honestly, the construction didn't impress me, and the inclusion of QDC connections seems unusual for an IEM priced above $100 USD. The true value of the IEM lies within, as it features an 8mm dynamic driver and 4 balanced armatures (BA) with a three-way hybrid crossover. 5mm nozzle size.



Cable: High-purity copper, oxygen-free, and silver-plated. It comes with 2-pin connectors coated and compatible with QDC. I have no complaints about the cable itself, and it performs its function well, although interchangeable terminations would be appreciated since it only has a straight 3.5mm termination.

Eartips: 3 pairs of wide-bore silicone tips. Despite my preference for this style of tips, it's somewhat unusual to encounter only one variety of tips in a product of this caliber.



Case: A simple but appreciated inclusion. Well-executed semi-hard construction in both the base and lid to prevent crushing the contents inside.

Comfort: Excellent with minimal protrusion. Decent isolation, although it can be affected if the tips are not the right ones, requiring readjustment of the IEMs to regain an ideal seal.

Driveability: Moderately challenging to amplify. I had to increase the volume on my iFi Zen AIR CAN more than usual compared to many other IEMs I've tested (volume comparison: EW200 = 1/8 turn on the iFi Air ZEN CAN vs EM6L = 2/8 or 3/8 turn on the iFi Air ZEN CAN) – EM6L Specifications (Impedance: 26 ohms - Sensitivity: 119dB/Vrms (@1kHz)).



Sound Description


Credits: Paul Wasabii

Bass

The separation of the bass is correct but not astounding; in songs with simultaneous reproduction of bass and subbass (electronic), they tend to blend, confirmed by tracks like Tiesto's "All Nighter" and IMANU's "Buried". Subbass has a presence greater than the bass, causing bass guitars to prevail over the kick drum of drummers. The quality and reproduction of the subbass in songs like M|O|O|N's "Hydrogen" are above average and let their rumble be felt. However, the bass presents itself as somewhat softer than it should be (a slight lack of punch), making its execution less enjoyable in songs like Martin Garrix's "Follow".


Mids

Following the typical Harman curve signature, there is a bit of bleed into the mids, although it doesn't become too intrusive. It does, however, accentuate lows and deep notes to a greater extent than usual. This bleed is more noticeable with male singers with mid-to-low-range voices, while singers with mid and high registers can overcome it and become the main focus of the scene when they choose to.

Songs like "Vivo Per Lei" by Bocelli, where singers of both genders have similar vocal ranges, female voices manage to shine a bit more. In individual scenarios and with low or absent low-frequency presence, male voices perform well, with baritones standing out more than tenors. Singers ranging from Amy Winehouse (lower range vocals) to Adele (mid range vocals) bring a very clear and natural presentation to the table, thanks to the elevation of the upper midrange, showcasing their skills in songs that lean towards the high frequencies, such as "Someone Like You".

Although the Harman curve doesn't quite align with classical music, the harmony among the different strings, winds, and percussion of the Oslo Philharmonic Orchestra interpreting "Sibelius: Complete Symphonies" is admirable. However, I often find myself yearning for more detailed violins in other songs, such as Fabio Biondi's rendition of Vivaldi's "Winter”. Overall, the correct cohesion achieved among instruments offers a satisfactory level of technicality, but in my opinion, it doesn't stray far enough from what a cheaper Simgot IEM like the EW200 achieves, as we will see later on.

One of the instruments best executed by the EM6L are wind instruments like saxophones and trumpets. Their reproduction leans slightly towards a laid-back presentation but retains a good amount of detail.


Treble

The tuning aims for trebles that I consider laid-back but not entirely detached from details, thanks to a correct extension but perhaps with a lack of brightness in this range. This relaxed presentation results in the cymbal splash losing some vitality (cymbals in Megadeth's "Life In Hell" and Iron Maiden's "Two Minutes To Midnight").

As a positive aspect, the sound from the balanced armatures (BA) is minimal or absent, ensuring good coherence between drivers.


Soundstage and Imaging

The EM6L boasts a soundstage of adequate width but not outstanding, and it's a bit compact in depth.

The imaging is precise, allowing for the distinction of each guitar on the sides of the singer, as evident in "Hallowed Be Thy Name". It also maintains proper separation between instruments of different types, such as winds and strings in Schubert's "Symphony No. 9 in C major, D. 944 'The Great': I. Andante - Allegro ma non troppo" performed by the Leipzig Gewandhaus Orchestra.



vs Simgot EW200



To be frank, Simgot's biggest competitor at the moment are themselves (obviously, this is a compliment). That's why my comparison is against the supposed younger sibling of the EM6L: the EW200, which costs around $40 USD.


Credits: Paul Wasabii

Observations:

-Subbass is more satisfying in the EM6L compared to the EW200, but the punch of the bass is quite similar. However, since the subbass is more elevated in the EM6L, it tends to make one undervalue the bass as the EW200 draws more attention to it. There is good separation between the two lower ranges of the spectrum in both IEMs, with a slightly better performance by the EW200.

-In the EW200, the wind instruments are a bit more aggressive (without any excess), attributed to a slightly more balanced signature that allows them to shine. On the other hand, the EM6L tends to temper the power of the instruments, giving them a touch of subtlety (this is noticeable in the instruments of Sinatra's "Come Rain Or Come Shine").

-EW200's mids provide better presence to voices and instruments, thanks to a signature less focused on the bass. Voices (and instruments) are more recessed in the presentation of the EM6L in comparison.

-The presentations of the highs are distinct, with the EW200 offering more brightness, allowing a more appropriate reproduction of cymbals, extending their sound during impact. The high frequencies in the EM6L tend to fall short in comparison, and I would say they are enjoyable for individuals who are sensitive to elevated treble. The level of detail, in contrast to the EW200, is extremely similar but with a darker tone.

-Soundstage between both (EW200 and EM6L) is virtually the same in terms of width, although the EM6L seems to have less breadth and be more compact due to its signature that retracts more of the mids. Depth is actually greater in the EW200; the difference in distance between the drum kit and the lead singer (positions behind and in front, respectively) is significantly larger.

Despite having similar signatures on paper, when listening, one could argue that the EW200 is superior for analytical listening, while the EM6L favors relaxation during sessions focused on contemporary music. That being said, I find the EW200 to be more versatile as it is not limited to a "serene" tuning, thus providing a pleasant reproduction across the broad spectrum where instruments and voices reside.



Conclusion



As a reviewer, my job is to identify and document the positive and negative aspects of the products I analyze. In this case, it may seem like the EM6L is overshadowed by the EW200, and if we strictly consider the value for money, that might be the case. However, the EM6L has its niche, being the "dark EW200" that many seek—an IEM with the ability to present treble as a gentle range, yet one where small technical nuances can still be found. It has room for improvement in its construction (QDC connection, housing and faceplate made from more robust materials), but sonically, it is on par with its price.

CVJ Nami: the new wave

Intro

CVJ has been releasing a plethora of products lately. Today, we have an IEM that was launched a few months ago, featuring a cable with interchangeable terminations at the affordable price of $29 USD. Let's take a look at what the CVJ Nami brings to the table—a hybrid IEM with a dynamic driver and a balanced armature.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• I would like to express my gratitude to the CVJ team (especially CVJ Love) for providing me with this unit for review
  • You can find the Nami here: https://www.aliexpress.us/item/3256805666915862.html (Official Aliexpress website)
  • You can find the VS400 cable here: https://www.aliexpress.com/i/3256805521900774.html?gatewayAdapt=4itemAdapt (Official Aliexpress website)
• Analysis over 4 days – Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec BHD Pro (dongle)

Unboxing, Build & Comfort





CVJ Nami: Construction in line with the trends seen in this price range, featuring a CNC-machined metal faceplate and a transparent resin housing that allows a view of the internal components. It is equipped with a 10mm dynamic driver with a diaphragm composed of a magnesium and aluminum alloy, along with a balanced armature (BA) responsible for the high-mid and high frequencies when activated by the switches on each IEM's side.



Cable: Composed of oxygen-free copper (OFC) and silver-plated, featuring the typical QDC-compatible connector with 2 coated pins. However, the cable's quality is remarkable—it is easy to handle, doesn't easily tangle, and comes with an interchangeable straight 3.5mm termination. It's peculiar that the product doesn't include the rest of the interchangeable tips, but after trying the tips provided by CVJ with their new VS400 cable (which is even of higher quality than the Nami's), they work perfectly.}



Eartips: three pairs of transparent silicone tips with a standard-sized bore. I would have liked to see more variety in these considering the price.



Tool for adjusting the switches.

Comfort: With the right pair of eartips, they are comfortable, although the cable may be a bit heavier than average. They protrude slightly, but I could lie down with them without any issues. They provide a decent level of isolation while listening to music or using them for gaming. I didn't need to readjust them once they were in place.

Driveability: Easy to amplify. A smartphone does a good job of providing them with enough power (Impedance: 22 ohms / Sensitivity: 114dB).



Sound Description

Since the CVJ Nami features three different modes (Subwoofer, HFE, and EHF), I will divide this segment based on the similarities they share and their particular characteristics.


Credits: Audio Reviews News
(The switches turned on will be referred to as "U," while the switches turned off will be referred to as "D") – Subwoofer = Blue / HFE = Green / EHF = Red



The three modes according to CVJ


General signature features across all modes

-V-shaped signature with clear elevations in the bass and treble regions, along with the typical "valley" in the midrange.

-Good separation between bass and sub-bass in tracks like IMANU's "Buried" and Jauz's "Goodiez".

-The extension of the subbass is decent but only that; there are more notable IEMs in this realm.

-Bass takes precedence in the signature with a strong punch but not excessively exaggerated. Good texture.

-Both bass and subbass are somewhat slow in this dynamic driver.

-Soundstage with average width and potentially small for some. Depth is comparable to IEMs in this price range, with appreciable distance to the ear between the drummer and singer in Iron Maiden's "Aces High," but not reaching the levels achieved by other models.

-The Nami manages to achieve a precise image in "simple" songs (songs with fewer than 4 different instruments), but it becomes blurred with complex songs, and I don't see it as suitable for orchestras or classical music in general.


Subwoofer Mode (DD)

Instruments in the midrange (guitars, trumpets, flutes, clarinets) are quite recessed in the signature, although strings tend to stand out more. However, male vocals retain a certain authority, as seen with Sinatra in "Fly Me To The Moon," while high-register female voices appear more subdued due to the V-shaped signature with relaxed treble (Adele's "Miss You").

Poor extension in the highs, cymbals with somewhat dull and lackluster reproduction due to their abrupt stop after being struck (Queen's "Another One Bites The Dust"). Lack of micro and macro-resolution in the highest part of the spectrum.

For electronic songs or similar genres, it provides an entertaining tuning.


HFE Mode (UD)

Female voices benefit from the boost in treble, providing clarity to high registers, as seen with Billie Eilish in "No Time To Die". Additionally, the authority and liveliness of violins and electric guitars are superior to the previous mode, despite the signature still leaving the midrange somewhat recessed.

This also adds a bit more brightness to cymbals, triangles, and other instruments in the higher range of the spectrum, making these instruments slightly more detailed and contributing a bit more air to the signature.


EHF High-Definition Mode (DU):

With the higher treble area, this configuration has the most brightness and air. Cymbals have a spectacular reproduction, but unfortunately, sibilance is audible and tends to cause fatigue quickly. Strings also tend to benefit, but they reach a perceptible metallic tone (which could be attributed to the BA or simply the tuning itself).

I don't find that the voices are significantly affected when comparing this mode to the HFE.



CVJ Nami (HFE Mode) vs Kiwi Ears Cadenza



The IEMs being compared don't have very similar sound signatures and were evaluated considering their market prices (Nami $30 USD / Cadenza $35 USD). Additionally, I wanted to pit an IEM that is a frequent recommendation of mine, like the Cadenza.


Credits: Audio Reviews News

Observations:

-The levels of extension and execution of subbass in both models are acceptable but leave one wishing for perhaps a bit more of a rumble sensation.

-Indeed, the bass has a stronger presence in the Nami, thus providing a more significant punch in electronic songs like "Goodiez" by Jauz.

-The less aggressive V-shaped signature of the Cadenza makes it the better option for vocals and instruments in the midrange. Although winds (flutes and trumpets) and pianos have a more honest reproduction with a bit more detail, guitars and violins may sound somewhat subdued in comparison to the Nami's playback, where I find greater texture in each executed string.

The majority of male and female voices benefit from the Cadenza's signature, allowing them to shine more (less bass bleed and more midrange presence overall). A particular case may be very high vocal registers where the Nami performs better than average, although it may sound artificial in some situations.

-Honestly, I appreciate the extra brightness that the Nami's BA can give to cymbals. Comparing songs like "Survive" by Stratovarius and "Black Magic" by Slayer, it's noticeable that the Cadenza tends to sound somewhat more subdued. Even in songs with triangles, like those in Tchaikovsky's "Swan Lake," the high registers played by the Nami in HFE mode don't become bothersome and offer technical nuances that are less perceptible in the Cadenza.

-The Cadenza exhibits a wider soundstage, creating better separation between instruments and vocals. Additionally, the depth they generate is slightly superior, although not to be overly praised.

-The imaging faces the same fate as the previous section, where the Cadenza may be somewhat superior in this aspect. However, both IEMs falter in songs of high instrumental complexity, such as in "Symphony No. 2 in D major, Op. 43: IV. Finale. Allegro moderato" by Sibelius, performed by the Oslo Philharmonic Orchestra, where a variety of strings (violins, violas) intertwines with various winds (trombones, flutes).



Conclusion

The CVJ Nami is an IEM that provides a fairly aggressive V-shaped signature and can be enjoyable for specific genres. Indeed, I would recommend it for that purpose: contemporary genres like Pop and Electronic music go hand in hand with the Subwoofer mode, while genres with greater instrumental complexity have a decent reproduction with the HFE mode. That being said, I find that this signature limits the versatility of the Nami, so it wouldn't be my first choice in the $30 USD range if I had to choose a single IEM to listen to my entire music library.

One last note: the CVJ VS400 cable has my 100% recommendation, offering excellent quality for those seeking an affordable modular cable compatible with QDC connections.

CCA DUO: A Comparative Review



Introduction

Today, I present a slightly different format than usual. Since the CCA DUO ($29 USD) showed a signature very similar to an IEM I often recommend, I wanted to do a purely comparative review. Let's see how the CCA DUO compares to the 7Hz Salnotes Zero ($20 USD).


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• Many thanks to the folks at CCA (especially Duke) for sending me this product to provide my honest opinion.
  • You can find the DUO here: https://www.kztws.com/products/cca-duo (Official KZ Website)
• Analysis over 4 days - Sessions of approximately 2 to 4 hours
• All music used is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort

But first, a bit about the construction and accessories of the DUO.





CCA DUO: As a sub-brand of KZ, CCA follows its parent brand building technique, featuring a metal faceplate and a transparent resin body (with dark tint). Despite certain similarities, this model is more compact in size compared to releases like the ZVX and the Krila. It houses two 7mm dynamic drivers inside and features the typical QDC-style connector on the outside, which the brand is known for. The nozzle is 5.8mm in diameter.



Cable: KZ cable (silver-plated copper, cable feels thin and it is evident where they cut costs)



Eartips: Three pairs of silicone (Starlines) and one pair of foam tips. Sufficient, and in this case, the foam tips make sense to tame some of the highs.

Comfort: As I mentioned, the DUO is smaller than other current KZ models, so it fits better to the ergonomics of my ear and doesn't protrude much. The provided tips seal properly, with the foam ones offering a bit more isolation than the silicone ones, but both types, when fitted well into the ear canal, tend to block external noises adequately.

Driveability: It doesn't necessarily require a DAC/AMP or dongle (although it benefits from one, as there are several IEMs that are easier to drive), with a sensitivity of 106dB/Vrms (@1kHz) and an impedance of 18 ohms.



Sound Description (vs 7Hz Salnotes Zero)

Scores (TL;DR for those who prefer a more concise format):

• Better to worse (left to right)
• More ">" indicates a greater difference
• "=" is used to indicate that the model on the left and the one on the right are similar in a certain aspect
• ">=" indicates that two IEMs could be similar depending on the song

Comfort: DUO = Zero (both very comfortable for extended use)

Subbass: Zero > DUO

Bass: DUO = Zero

Mids (male vocals): Zero >= DUO

Mids (female vocals): DUO >= Zero (with lower-register female singers, they are similar)

Mids (instruments): Zero > DUO (due to greater naturalness and better balance)

Treble: DUO > Zero (better quality but similar in quantity – DUO sharper)

Resolution: DUO >> Zero

Imaging: Zero > DUO (easier to locate bass)

Soundstage: DUO >= Zero


Observations:


Credits: Audio Reviews News

The extension in the subbass region is good in both sets, but the boost that the Zeros have in that area allows them to not get so hidden in the signature (the DUO's lack is noticeable in songs from the album "Live After Death" where at times the bassist disappears or becomes very difficult to find). For this reason, there is also better differentiation between bass and subbass, although neither of these two IEMs achieves a significant impact in the 80 to 200 Hz range. The CCA IEM's driver is faster compared to the Zero.

While both of them do not have a strong presence in the lower midrange, the lower-register vocal ranges have more authority in the Zeros, making them excellent for singers like Sinatra. For singers with higher-pitched voices like Amy Winehouse, the CCA DUO manages to push these ranges forward just a bit more than the Zeros, giving them the spotlight.

It's worth noting that the clarity of vocal registers is usually higher in the DUO simply due to a lesser elevation in the bass region.

Listening to Megadeth, the sense of definition in instruments like electric guitars stands out more in the DUO compared to the Zeros. However, this certain thinness in the signature makes instruments that can reach higher notes (just like the mentioned guitars) take the spotlight, but in doing so, they lose a bit of coherence in other music genres like orchestras, where higher strings such as violins and violas will always have a prominent place in front of winds or lower strings. Trumpets and violins "compete" for the lead role in "Swan Lake, Op. 20, TH. 12 / Act I: No. 1 Scène (Allegro giusto)."

Despite what was mentioned about the DUO’s midrange, the microresolution is spectacular for its price, and small details in the chorus of "Miss You" are heard with ease and precision. So, the Zero is for those who prefer naturalness or a more balanced sound, while the DUO would be better suited for more analytical users.

I find that the treble at moderate and slightly higher levels are somewhat more exaggerated and piercing in the DUO, but the difference is not immense. To put it in words, the Zeros approach the limit of being strident, while the DUO surpasses it in certain songs. Again, the level of detail here is very good, exceeding that of the Zeros.

The soundstage has similar width and depth (both above average in their respective price ranges). If I had to take a guess, I'd say that the DUO achieves slightly more depth in live albums.

There is a good degree of separation between the instruments reproduced by each pair of headphones, but I have to give the imaging to the Zero. It's not because the Zero has a more capable driver or anything similar, but as I mentioned earlier, the DUO can, on several occasions, make the user lose track of the bassist's location or not provide a sufficient impact in the execution of the drum kicks, affecting the placement of certain instruments.



Conclusion



Does the DUO present a significant improvement to justify the $10 USD price difference? Yes and no. In terms of the driver, it's noticeable that the DUO has a superior capability for reproducing small details that are hard to perceive. However, music isn't solely about the meticulous analysis of sounds, so I also value a proper balance between frequencies and the harmony of the ensemble of instruments. This is where I believe the CCA IEM can't compete with the Zero, and personally, I found myself spending more time with the latter for the enjoyment of my music.

KZ Krila: the IEM king?

Intro

KZ, following a formula similar to previous releases (D-FI and AS24) and backed by a fairly aggressive marketing campaign claiming that these IEMs have no rivals under $1000 USD, launched the Krila, which are currently available for $19 USD. How did they fare following the trend of switches?

If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• Many thanks to the folks at KZ (especially Kate) for sending me this product to provide my honest opinion. You can find the Krila here: https://www.kztws.com/products/kz-krila?_pos=1&_sid=a865e9638&_ss=r&variant=44688778952955 (Official KZ Website)
• Analysis over 4 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit - 44.1kHz).
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort

To be honest, there isn't much to say in this section, as my opinions and comments are exactly the same as those I wrote for the KZ D-FI, since the housing, switches, cable, and eartips are identical.





In summary: These IEMs have a faceplate constructed with a metallic alloy and a transparent resin body. They feature a QDC-type connector and come with a generic KZ silver-plated copper cable (which I immediately replaced). The package includes three pairs of Starline tips and one pair of foam tips, along with a tool for adjusting the switches.





What changes in the Krila is that it implements a second-generation 10mm XUN dynamic driver and a 30005 balanced armature (abbreviated as BA) for the high frequencies.



Sound Description

Once again, just like the KZ D-FI, the Krila offers 16 sound configurations. As I found with the previous iteration I reviewed, several configurations are virtually indistinguishable from one another. Therefore, I chose to analyze three configurations that provided distinct presentations:


Credits: Ian Fann

(Switches turned on are denoted by the letter "U", while switches turned off are denoted by the letter "D").

DDDD: Stock signature, nearly neutral, closely following the new "IEF Neutral 2023" curve with a very subtle bass lift.

DUDU: A configuration with slightly more bass elevation than DDDD, primarily focused on the sub-bass region, aiming to provide a well-balanced full-spectrum sound.

UUUU: The configuration with the most bass, where it has the greatest presence but still falls far from being at a basshead level that would negatively impact the overall signature.


Gaming

It's been a while since I delved into the gaming segment, and I thought of trying out the Krila in their DDDD configuration while playing Battlefield I to evaluate their soundstage and accuracy.



Since it's a rather chaotic video game, it's challenging for almost any headphones to pinpoint the exact source of each shot, explosion, or shout, so I won't blame the Krila for that situation.

In Verdun Heights, it demonstrated the spacious soundstage it can create, extending well in a two-dimensional manner to each side. In more confined maps like Fort De Vaux, the image becomes somewhat blurred amidst all the simultaneous gunfire. However, in situations where you're alone, and the enemy is approaching from another room, you can reasonably determine the direction of those approaching footsteps and how close you are to a face-to-face encounter with the opponent.

The depth and height of the soundstage are decent for the price, on par with what other IEMs in this price range achieve. It was more than sufficient for me to discern the positions of the other players.


Music

Albums used:

“30” – Adele

“Frank” – Amy Winehouse

“Romanza” – Andrea Bocelli

“Antonio Vivaldi : Les quatre saisons” – Fabio Biondi, Europa Galante

“Tchaikovsky: Swan Lake, Op.20, TH.12” – Boston Symphony Orchestra, Seiji Ozawa

“Take Me Back To Eden” – Sleep Token

“Drive” – Tiesto

“Dirt Femme” – Tove Lo

“Alta Suciedad” – Andrés Calamaro

“Live After Death” – Iron Maiden



DDDD

The bass drum is usually perceived with a mild presence. For subbass lovers, this tuning is not recommended at all. It focuses on the bass, but since the signature follows a fairly neutral target, the bass doesn't stand out either. That's why I wouldn't recommend this configuration for current genres like pop or any subgenre of electronic music. The driver is fast enough to deliver the subtle bass without losing the rhythm in the music I listened to.

Female and male voices that belong to a similar vocal range, close to what is considered less sharp registers, have a smoother reproduction and may go somewhat unnoticed, while tenors and higher-pitched vocal registers shine a bit more when played.

The configuration in which I'll focus more on the mids: when listening to orchestras like the Boston Symphony, strings and wind instruments like the flute and oboes maintain a smooth and silky quality, while trumpets can have a hint of aggressiveness (a timbre issue from the BA). I've heard better string definition in other IEMs, but this prevents any particular instrument from taking a dominant role, resulting in better harmony within the ensemble. Overall, the perceived level of detail is slightly better than the average $20 USD earphones.

The tactile sensation of each note from electric guitars has moments of clarity, although it can feel a bit blurred at times.

There is good air and extension in the highs, bringing detail to the forefront. However, the use of a BA makes bells and cymbals sound somewhat metallic in their reproduction. Personally, I didn't find them piercing at low to moderate volume levels. The 8kHz peak can be found in certain passages where soloists sing a capella (or with soft instrumental accompaniment), slightly elongating the "S" or "T" sounds, but it's not a significant issue.


UUUU

The subbass takes a noticeable lead in the signature. There is a slight improvement in the differentiation between subbass and bass, which is noticeable when both are played simultaneously (e.g., in the chorus of “All Nighter”).

Regarding the mids and highs, two scenarios exist:

1 If the song has abundant low frequencies, the voices/instruments can feel somewhat overwhelmed by the bass. Honestly, this didn't cause conflicts in my enjoyment of the music because the boost in the bass wasn't excessive, merely adding a warm tint to the signature. Cymbals tend to sound somewhat more subdued in situations like this, which can be favorable. It alleviates the issues of "S" and "T" sibilance.

2 For songs with few or no bass, I noticed significant similarity in this mode to the DDDD mode. The vocals are quite prominent, with some instruments like strings or drum toms standing out slightly more than the vocals in their reproduction (DDDD places instruments and vocals on a more equal footing in comparison). Highs are similar, if not the same.


DUDU

The distinction between subbass and bass is "subtly worse" (in quotes because the difference is very slim) than in the UUUU configuration, which may be due to a less aggressive focus in that range.

In fact, taking the last words of the previous sentence, the DUDU configuration strikes a good balance across the entire frequency spectrum. This doesn't mean that the issues with the highs are entirely resolved with this configuration, but they tend to be slightly more subdued than in the stock signature (DDDD). Furthermore, the achieved balance allows a wide range of music genres to sound pleasing to the ear without the need to switch between configurations.

In terms of the mids, the bass takes a backseat to vocals and is on par or slightly behind instruments depending on the situation (in songs like "Flaca" and "Con te partirò", bassists are just slightly behind guitarists). As expected, the clarity of mid-range instruments is somewhat reduced compared to DDDD (for example, it's a bit more challenging to find the guitars at 1:30 in "Vivo per lei" behind the drums and bass).


Soundstage & Imaging

The Krila is an IEM that manages to create a fairly wide soundstage (even slightly wider than the 7Hz Zero), effectively conveying the sensations of a real stage. Like other IEMs in this price range, it doesn't achieve significant depth in the album "Live After Death," resulting in the drums having an unrepresentative distance from the singer (this aspect is better polished in the 7Hz Zero).

Furthermore, the width of the soundstage allows for above-average imaging and separation in this price range (an aspect where the Krila clearly outperforms the Zero).



Comparisons

To be completely transparent, KZ asked me to make comparisons with higher-priced IEMs so that you can understand how the Krila competes against them (for those who may not know, the KZ Krila was promoted as the IEM that would dethrone any IEM under $1000 USD, according to KZ...).


vs LETSHUOER S12 PRO ($135 USD)



For this comparison, I used the UUUU configuration of the Krila since that's the closest to the tuning of the S12 PRO.


Credits: Ian Fann

I typically provide insights on each frequency and how each IEM performs against the other. However, in this case, that's not necessary. The only advantage I can give to the Krila is a smoother transition with less bleed between bass and mids. Other than that, there's no need for discussion: the S12 PRO's details are superior, not by leaps and bounds but enough to justify its price of $135 USD. It offers a wider and deeper soundstage, creating an almost realistic stage for live albums, which leads to exceptional separation and imaging, thanks to the beautiful planar magnetic driver. The treble is less aggressive but with more extension and air. However, I believe the Krila does a good job in microdynamics, although it doesn't achieve the natural timbre of the high registers that the S12 PRO has.

In conclusion, the difference is noticeable, and switching from one to the other is essentially an upgrade, so in my opinion, the Krila doesn't pose much competition.


vs Ikko Opal OH2 ($80 USD)



A more equitable comparison is with Ikko Audio's OH2, using the stock configuration (DDDD) of the Krila.


Credits: soundcheck39

• It's noticeable that the bass bleed is much more pronounced in the OH2, making it more invasive in the signature. In contrast, the Krila focuses on subbass and not so much on the bass in the lower end of the spectrum, allowing voices and instruments to shine with greater clarity.
• The impact of kick drums and basslines has a more significant presence in the OH2, making them suitable for bass-focused music. However, this comes with the issue I mentioned earlier in other songs.
• Details in the subbass department go to the Krila, while in the bass section, it's a tie.
• Both IEMs achieve a level of naturalness, but they are not without their flaws. As I mentioned earlier, the Krila exhibits a metallic tonality in wind instruments like trumpets, whereas the OH2 doesn't have what I would call detailed mids for its price. So, the perception of details and perhaps naturalness (due to having less pronounced bass) goes to the Krila, while the OH2 delivers more realistic and upfront vocal reproduction, which also avoids the metallic timbre in the upper mids.
• The treble offers two completely different presentations, with the OH2's treble appearing "darker" in comparison. While it's enjoyable to extract details from a variety of songs when listening with the Krila, I preferred the relaxed and more natural reproduction of the OH2.
• The soundstage is wider in the Krila, while the depth is slightly less than that of the OH2. Image accuracy, overall, is decent in both, with the OH2 suffering more in my opinion as instruments from both sides tend to compact in the scene.

In general, this was a closer match, and I would say that the Krila is a good choice for those seeking a more analytical listening experience. On the other hand, the OH2 offers a relaxed presentation and doesn't exhibit that artificial timbre in the high frequencies which the Krila sadly has.



Conclusion

I've already discussed this with other people, but I'm not a fan of the implementation of multiple sound signatures, especially in this case where I doubt an average user would spend their time cycling through the 16 possible configurations. Nevertheless, the sonic capabilities of the IEM are well executed, and it feels like a small upgrade compared to the KZ D-FI in terms of treble extension. I can't overlook the metallic timbre in the high mids and highs, but in my opinion, this is an IEM that excels at being analytical and detailed for its attractive price, without being boring for the listener.

ND DD3: the switch trend...



Intro

ND is a brand that is new to the market, and one of its first models was introduced a few months ago, following the trend of configurations with different signatures using switches. The ND DD3 is available for around $19 USD. Join me to see how ND's debut in the world of IEMs turned out.

If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• I would like to thank the folks at Keephifi for providing me with this set for an honest review. You can find the ND DD3 here: https://keephifi.com/products/nd-dd3-hifi-in-ear-monitor-earphone
• Analysis over 4 days - sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / Samsung A50 (3.5mm Jack output)

Unboxing, Build & Comfort









ND DD3: First and foremost, the DD3 is a massive IEM in comparison to IEMs like the Kiwi Ears Cadenza or Moondrop CHU; it almost looks like a prototype of an IEM. The housing of these earphones is made of blue resin in my case, along with a faceplate made of an aluminum alloy. The latter comes in two different colors: blue and black. The overall design looks cheap compared to other earphones in this price range. It features a 10mm dynamic driver with a dual magnetic cavity and a diaphragm composed of crystalline polymers. Its connectors on the top are of the QDC type. Its nozzle measures approximately 5.8mm.



Cable: I consider it to be one of the best cables I've tried in earphones under $20 USD. It is silver-plated copper cable, with a straight 3.5mm termination, very pliable, and with little "memory", so it won't tangle when you store it.



Eartips: 6 pairs of silicone tips, 3 pairs in black and 3 in white. There's little difference between them; in fact, when placed side by side, their bores don't seem to change in size, both with standard or balanced bores. The black tips are slightly firmer in my opinion. They're okay for the price.

Pouch: a nice addition. It's made of fabric with the brand's inscriptions and is large enough to carry the IEMs along with a small dongle.

Comfort: despite my earlier mention that they are large, I didn't find them uncomfortable at any point because they are lightweight for their size. Their dimensions bother me more in the sense that they protrude quite a bit, but it's not an issue when using them while seated. The white silicone tips provide a surprisingly good seal and are effective at isolating external noises to an acceptable degree.

Driveability: a smartphone is sufficient to drive them. I used my most powerful amplifier (iFi AIR Zen CAN) and didn't notice any difference in their performance.



Sound Description

By offering 4 different sound signatures, my sound description won't be the same as usual. Instead, I'm going to share my opinions on each configuration after listening to songs from the following albums:

• “25” - Adele
• “Back To Black” - Amy Winehouse
• “Beethoven: Symphony No. 7 - The Creatures of Prometheus” - Freiburger Barockorchester, Gottfried von der Goltz
• “Happier Than Ever (Explicit)” - Billie Eilish
• “New York” - Frank Sinatra
• “Pavarotti 24 Greatest HD Tracks” - Luciano Pavarotti
• “The Number of the Beast (2015 Remaster)” - Iron Maiden
• “Survive” - Stratovarius

Clarification:
The switches have two positions: "ON" (upward) represented by the letter "U", and "OFF" (downward) represented by the letter "D".


Configurations



Mode 1: Powerful Low Frequencies (UDD) – Mode 2: Vibrant High Frequencies (DUD) - Mode 3: Natural Balance (UUD) - Mode 4: Enhanced Low Frequencies (DDU)

• Natural Balance (UUD): Depending on the album, the set of instruments (regardless of their range) may sound very distant, as if you were kilometers away from the band in all respects. The bass lacks impact and becomes dull at low volume levels, with poor differentiation between bass and subbass, which improves at intermediate and high levels but still doesn't let the user distinguish between the two bass spectrums correctly. The only remarkable aspect of this mode is the vocals, which maintain good authority in the signature, where female vocals are more intimate and stand out more than male ones. Also, electric guitars and violins perform well but not much more. The worst part is the reproduction of any kind of cymbal or bell, which feels too muted, with zero detail perceived in the high range.

• Powerful Low Frequencies (UDD): According to ND's measurements, the enhancement of the bass in this signature is achieved by attenuating the upper mids and high frequencies. Similar to the Natural Balance, the bands can sound distant, but here, this happened in most of the songs I listened to. This is the tuning I liked the least; the only positive aspect I can highlight is that it achieved better differentiation between the bass and subbass frequencies compared to the previous signature. However, it's the signature with the least detail, and songs with prominent bass completely overshadow the rest of the spectrum. In those where the low registers are almost nonexistent, the mid and high ranges also lack liveliness, particularly the cymbals sound funereal.

• Enhanced Low Frequencies (DDU): The first tuning I would recommend with a slight focus on the bass but avoids being too intrusive for the rest of the frequencies. The differentiation between bass and subbass remains similar to UDD, although I find a bit more detail in these two mentioned ranges, making this signature decent in this aspect. Voices of both genders are well represented and appear as the most prominent sound in the midrange. Compared to UUD, string instruments lost some sparkle and detail, but overall, pianos, strings, toms (drums), and winds are reproduced naturally and provide a good sense of musicality. Lastly, like all the previous signatures, the attenuation when playing cymbals or bells is quick, meaning there isn't much detail to be found, and this frequency is the one that sounds the most muted.

• Vibrant High Frequencies (DUD): The configuration with the least amount of subbass, focusing more on the impact of the bass in the lower part of the spectrum, which is still at most moderate in intensity (quality of both is the same as DDU). This is the other signature I would recommend, and surprisingly, it allows for slightly greater clarity from most instruments compared to DDU. The sound of some instruments like flutes and oboes is extremely similar, but electric guitars and pianos stood out as they gained a more prominent role in the mix. Vocals are somewhat more vivid than in DDU. Notable in this signature were the treble frequencies that finally managed to be reproduced decently by having a bit more air than the rest of the configurations, avoiding the abrupt drop in the reproduction of cymbals and bells.

Soundstage & Imaging

With the first switch in the "U" position, the imaging isn't bad, but it's affected by the scene becoming compact, even though the entire band may sound distant from our head. On the other hand, configurations with the first switch in the "D" position manage to provide greater spaciousness to the music. I find a more open scene in "Run to the Hills", allowing me to notice greater separation between the two guitarists. Depth is not a strong point in any of the configurations; it's just slightly noticeable that the drums are set a bit back compared to the rest of the ensemble in the mentioned song.



vs. 7Hz Salnotes Zero



Without the need to compare them to other IEMs, I've already determined my rating for this set. However, in order for other users to get a better idea of how these sound, I compared the ND DD3 in its Enhanced Low Frequencies config (DDU) against the 7Hz Salnotes Zero, as it is often sold at a similar price and, in this configuration, their signatures are similar.


Credits: Ian Fann


Observations:

• The subbass of these models are on par, although the DD3s do a slightly better job in the bass region, providing greater impact in their reproduction.
• It's truly surprising how, switching to another IEM model, the mids open up. Making A/B comparisons between these two sets, the difference in the midrange is staggering. Vocals and instruments are much clearer in the Zero, thanks to their significantly less intrusive bass. Despite this, the DD3 has the virtue of making both male and female vocals stand out a bit more in comparison. When it comes to details and naturalness, the Zero also takes the lead.
• In the treble, they are two different worlds because the Zero truly achieves a proper and appreciable extension in this frequency. As a result, details are more easily perceptible, and at the same time, cymbal execution sounds more enjoyable due to the slower decay of these notes. The Zeros can be somewhat more fatiguing for the same reason.
• In my opinion, the imaging of both is only decent for the price, although the Zero has considerable depth in comparison, making live performances more enjoyable.

Conclusion

The rating is 3 stars, but honestly, I cannot recommend it, given the fierce competition in this price segment close to $20 USD. My main justification: it offers 4 signatures, 2 of which I can’t recommended at all, making it senseless to buy an IEM with switches. For its 2 acceptable signatures, there are already other IEMs that provide a similar or better experience with a similar tuning without the need for switches.

Hopefully, ND can focus on a specific signature and work from there to achieve good results, as the rest of the "complementary" elements (cable, eartips, accessories) felt of better quality than average.

Simgot EW200: one of the best DD I've tried so far

Intro

The EW200, Simgot's IEM that needs no introduction at this point. I had the opportunity to review this set that features a dynamic driver with an SCP diaphragm, available for around $40 USD, and from what I've read, they're a hit! Let's see how they perform...

If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)

Disclaimers:

• I would like to thank Simgot’s staff (particularly Fia & Betty) for providing me with this set for an honest review. You can find the EW200 here: https://www.linsoul.com/products/simgot-ew200?_pos=4&_sid=a93150668&_ss=r
• Analysis over 4 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit - 44.1kHz).
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)

Unboxing, Build & Comfort







EW200: I'm increasingly surprised by metal IEMs available in this price range. The entire housing of the EW200 is made of metal with a couple of holes (one on its inner face and one on the outer) to prevent driver flex. It features a 10mm SCP dynamic driver (as declared by Simgot: This diaphragm incorporates a special polymer film as a substrate that is coated with a hybrid silicon layer through dual-sided sputtering deposition). Its connection is a 2-pin 0.78mm type, which is slightly recessed in the IEM, and its nozzle is approximately 5.6mm.

Cable: At first glance, it looks like your ordinary silver-plated cable, but it pleasantly surprised me with its flexibility. I would prefer a straight termination instead of an "L" shape, but that's just a matter of personal preference.



Eartips: A few in quantity and variety for my liking given the price: only 3 pairs of balanced bore silicone tips.

Pouch: Simple, made of fabric, but I always appreciate when one is included.

Comfort: The EW200 provides a moderate level of comfort. Despite being purely metallic, they don't feel heavy when wearing them. The issue, in my opinion, is that they protrude a bit too much. The seal with the provided silicone tips is good and isolates well in noisy situations; I found myself readjusting them in my ears only a few times.

Driveability: It has a very good sensitivity/impedance ratio, making it easy to amplify (sensitivity = 128dB/Vrms (@1kHz) – impedance = 16 ohms). However, this also makes it more susceptible to picking up the source's noise floor when amplified.


Sound Description


Credits: Paul Wasabii

Bass

For EDM, they hold their own, but I must admit they don't have the best subbass I've heard. What I can highlight, however, is the speed of the driver, which ensures that no kick drum is ever lost or delayed.

The impact of the bass is noticeable and slightly above average because, in comparison, the EW200 leans towards an older IEM target, following the Harman curve from 2016, which includes an elevation in the bass region. For electronic albums with a strong focus on bass, like Hardwell's "REBELS NEVER DIE", as well as more rock-oriented genres, this IEM performs wonderfully, bringing the rhythm-driving instruments to the forefront without making them overwhelming.


Mids

Given the intended signature, I didn't expect the EW200 to have such prominent mids, assuming that the bass boost would muddy these frequencies a bit. To my surprise, the warm tuning was clear in the reproduction of both male and female vocalists, with a slight emphasis on the latter's voices. This allowed for a sublime experience when listening to Amy Winehouse on the album "Frank".

I'm going to detail my feelings when listening to instruments with different songs such as "Symphony No. 4 in A minor, Op. 63: II. Allegro molto vivace" by Jean Sibelius performed by the Oslo Philharmonic Orchestra, "State of Slow Decay" by In Flames, "The Tempest, Op. 18: V. Allegro animato" by Tchaikovsky performed by the BBC Scottish Symphony Orchestra, among others.

Speaking about string instruments, cellos and double basses do a good job when played, and they can grab some attention, but it's not a serious issue. Both acoustic and electric guitars have excellent tactility for the price and don't exhibit any apparent metallic tone. Primary and secondary violins, like guitars, tend to stand out effortlessly and even with greater and better definition than the latter. This makes the EW200 ideal for listening to Vivaldi's "Four Seasons", where these string instruments often take center stage.

Among other instruments I analyzed, the piano tends to blend more into the songs, offering a smooth and honest reproduction. Regarding winds, oboes, clarinets, and flutes tend to maintain a balance, neither too soft nor abrasive. Simgot has achieved a good balance in reproducing these instruments.

In general, except perhaps for the piano, most instruments in the midrange have above-average definition considering that these IEMs are often priced at less than $40 USD.


Treble

The potentially most controversial aspect of these IEMs, as it will be extremely subjective depending on the user. In my opinion, in songs with cymbal reproductions in the background like "Survive" by Stratovarius, the cymbals can be a bit too energetic. The definition and clarity in the high frequency spectrum are very good, but it can quickly become fatiguing for individuals who are more sensitive to high frequencies.

That's why in songs where high-pitched sounds are more upfront, such as "Swan Lake, Op. 20, TH. 12 / Act I: No. 1 Scène (Allegro giusto)" by Tchaikovsky performed by the Boston Symphony Orchestra (triangles in this case), the EW200 can cause some discomfort. However, I must admit that the level of detail is quite impressive.


Soundstage & Imaging

As usual, I used songs from Iron Maiden's album "Live After Death." I found a wide soundstage in songs like "Hallowed Be Thy Name" and "Rime of the Ancient Mariner", which also had decent depth. I was amazed by the instrument separation and the stage imaging; the guitars were really well separated from Bruce Dickinson's vocals, something haven't achieved by many IEMs.


vs Kiwi Ears Cadenza



I had to compare these two models because the Cadenza was a set that I loved as an upgrade from the 7Hz Salnotes Zero, with a bit more bass, and they are actually priced very similarly to the Simgot EW200 (around $35 USD).


Credits: Paul Wasabii

Scores (TL;DR for those who prefer a more concise format)

• Best to worst (left to right)
• More ">" indicates a greater difference
• "=" is used to indicate that the left and right sets are similar in a certain aspect
• “>=” indicates that two IEMs could be similar depending on the song

. Ergonomics: Cadenza > EW200

. Driveability: EW200 > Cadenza (both are easy to amplify anyways)

. Subbass: Cadenza > EW200

. Bass: EW200 >= Cadenza

. Mids (Male Vocals): EW200 > Cadenza

. Mids (Female Vocals): Cadenza = EW200

. Mids (Instruments): EW200 > Cadenza

. Treble: EW200 > Cadenza (taking into account detail retrieval) – Cadenza > EW200 (for longer listening sessions)

. Imaging: EW200 = Cadenza

. Soundstage: EW200 >> Cadenza


Observations:

• The subbass rumble is better in the Cadenza, while the bass has better detail in the EW200 (the quantity of bass is similar, slightly more in the EW200).
• Cadenza is a bit more reserved with male vocals, whereas the EW200 allows them to shine a bit more. Female vocals are similarly represented in both models, as both give more presence to female singers.
• The mids are clear winners in the EW200, presenting with greater vividness in almost all the instruments I listened to (perhaps the piano might be the exception).
• Treble is a matter of preference, with more detail and a higher potential for fatigue in the EW200; a calmer listening experience in comparison with the Cadenza, never lacking but with slightly less detail than the Simgot set.
• Soundstage is wider in the EW200, but these two models are on par in terms of depth.
• Image and instrument separation are quite similar in both sets; I wouldn't dare say there's a significant difference between them.

Conclusion

It's been several months since I've given a perfect rating to an IEM, so I'm extremely pleased to award the EW200 with 5 stars. Sonically, it's incredibly competent for an IEM priced below $40 USD (usually found around $38 USD), offering great resolution across the entire spectrum and a midrange presence that surprises despite the chosen signature. Being so detailed, I can forgive its aggressiveness in the treble, and furthermore, if Simgot were to include different eartips with the EW200, this IEM would have no rivals for under $50 USD for those who listen to a diverse range of genres like myself.

Ikko Opal OH2: An overlooked gem

Intro

I’m back after being quite busy with university. I had the opportunity to listen to the Ikko Opal OH2, a pair of IEMs that have been on the market for a couple of years. Let's see how this $80 set from Ikko Audio performs.


If you wish to read this review in Spanish, click here

Check out previous reviews here (or in spanish here)


Disclaimers:

• I would like to thank Ikko Audio for providing me with this set for an honest review. You can find the OH2 here: https://www.ikkoaudio.com/products/opal-oh2-iems
• Analysis over 6 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16bit - 44.1kHz).
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort







Opal OH2: Its housing is made of a combination of metal and transparent polycarbonate, allowing you to see the PCB inside, which gives it a "futuristic" touch, along with the 8mm driver featuring a nano carbon diaphragm. Its shape is quite peculiar, almost triangular, and it features oval-shaped nozzles, which are not common. Near the top of the triangle, you'll find MMCX type connectors.



Cable: When in use, the cable serves its purpose. However, it is one of the cables that tangles easily when you try to store the IEMs, and it needs to be left stretched for a while to lose its coiled shape. Additionally, it's worth noting that the MMCX connectors easily rotate around the IEMs' connection. This didn't cause them to disconnect from the cable, but I did have to readjust the IEMs every time I used them.



Eartips: It comes with 6 pairs of silicone tips and 3 pairs of foam tips. From my personal experience, I cannot recommend the silicone ones as they provide no seal when used. On the other hand, both the included foam tips and the Saturn tips provided by Ikko Audio offer a good seal, but they do not block external noise to a significant extent.

Pouch: The pouch is beautifully made of faux leather.

Comfort: Ikko has succeeded in making the Opal extremely comfortable IEMs thanks to their ergonomic design. They protrude very little, and I even forgot I had them on when I went skiing. The only minor drawback is that the isolation leaves something to be desired.



Sound Description

As this IEM is not a recent release and considering there are various opinions about its sound, I'll try to be brief about how these sound and quickly jump to a couple of comparisons.



Albums:

• “Schubert: Symphonies Nos. 8 "Unfinished" & 9 "The Great"” - Gewandhausorchester Leipzig
• “United Alive in Madrid (Live)” - Helloween
• “Sentio” – Martin Garrix
• “Back To Black” – Amy Winehouse
• “Romanza (20th Anniversary Edition / Deluxe)” – Andrea Bocelli
• “<|º_º|>” - Caravan Palace
• “Powerslave” – Iron Maiden
• “25” - Adele
• “Los Abuelos De La Nada 1” – Los Abuelos De La Nada

Sound profile - Credits: https://fahryst.squig.link


Bass

Having listened to many IEMs that follow the Harman curve target, the OH2 pleasantly surprised me by deviating a bit from this paradigm and leaning more towards neutrality, with a slight emphasis on the midbass over the sub-bass. This doesn't mean that the subbass is weak, but it's far from having the best rumble I've heard from a dynamic driver, and it doesn't extend too deeply into the lower regions.

On the other hand, the midbass is punchy and stands out in EDM songs. It's quite suitable for electronic genres and makes kick drums and bass guitar more prominent for those listening to rock or heavy metal.

The quality of both lower spectrums is acceptable for the price, although the driver may fall behind in situations where the bass is executed consecutively.


Mids

The mids are the highlight of the show thanks to the OH2. Both male and female vocals sound silky and without any hint of aggression or artificial metallic tone. Male singers have a slightly weightier presence and stand out a tad more than female voices when singing duets.

The sense of smoothness also extends to certain instruments. Winds like trumpets and clarinets are very pleasant to listen to because the OH2 manages to reproduce them harmoniously, smoothing out their rough edges at the cost of losing some details. However, pianos and electric guitars retain their details intact, with a better-defined texture.

From what I heard in orchestral music, violins have slightly less tactile feel compared to electric guitars, not being as detailed. Nevertheless, I found that in Schubert's works, the coherence among the ensemble of instruments (winds, strings, percussion, etc.) was exceptional and very enjoyable, despite these not being IEMs focused on music analysis.


Treble

The OH2 has high-frequency registers that aim to provide a relatively relaxed listening experience. This can sometimes push cymbals and high-frequency elements into the background and may not be the optimal tuning for people who like to extract every detail from their music, as the microdynamics are not particularly impressive. However, it performs quite well for sessions where you're not looking to scrutinize the sound in-depth. Obviously, having mentioned this, you won't find a great extension in the treble, as the tuning primarily focuses on highlighting the mids.


Soundstage and Imaging

The OH2 favors a deep but relatively narrow three-dimensional soundstage. Surprisingly, this didn't significantly congest the instruments, and they could be heard distinctly during my analysis.



vs Moondrop Aria & Whizzer Kylin HE10



Scores (TL;DR for those who prefer a more concise format)

• Best to worst (left to right)
• More ">" indicates a greater difference
• "=" is used to indicate that the left and right sets are similar in a certain aspect
• “>=” indicates that two IEMs could be similar depending on the song

. Ergonomics: OH2 >> HE10 > Aria

. Driveability: OH2 > Aria > HE10 (the 3 of them are easy to drive)

. Subbass: HE10 > Aria >> OH2

. Bass: OH2 > Aria > HE10

. Mids (Male Vocals): OH2 >= Aria = HE10

. Mids (Female Vocals): HE10 >> OH2 >= Aria

. Mids (Instruments): HE10 = OH2 > Aria

. Treble: Aria >> HE10 >> OH2

. Imaging: Aria >= OH2 > HE10

. Soundstage: Aria >> HE10 >= OH2


As I mentioned in my review of the HE10, the latter and the Aria are not that different, and I found them to be a good point of comparison when evaluating the OH2, even though Ikko's tuning clearly has a different goal. These three sets are all in the $80 USD range.


Credits: https://fahryst.squig.link

In summary, the OH2 focuses much more on highlighting the entire spectrum of mid frequencies (despite a very slight bleed from the midbass). The OH2 presents this frequency range as the most prominent but also harmonious and velvety at the same time. None of the three models excel in detail retrieval in this range, but their performance is adequate for non-analytical listening.

The mid-bass is also a strong point shared with the Aria, with the OH2 having a bit more quantity but similar quality. However, the subbass lags behind considerably compared to the Moondrop and Whizzer models.

The treble on the OH2 is the most relaxed of the three models, so lovers of high-frequency registers should lean more towards the Aria to meet those needs. Having said that, there are also many users who prefer this type of presentation with limited treble extension and a calmer reproduction.

In terms of soundstage, the Aria outperforms the other two, providing the widest and deepest stage, but the OH2 comes very close in terms of imaging and instrument separation.



Conclusion

My time evaluating the Ikko Opal OH2 was extremely enjoyable, and I would recommend them to users looking for a non-fatiguing signature for their everyday music or gaming needs. What prevents me from giving them a higher rating is that, like the Moondrop Aria, their price has not dropped despite being released almost 2 years ago. Technological advancements in the world of audio have reached a point where cheaper IEMs ($50 USD) are on par with these "older" models.

Moondrop JIU: my first DSP



Introduction

Moondrop has released the DSP version of the acclaimed CHU: the Moondrop JIU. I am delving into the world of DSP in-ear monitors for the first time, so I invite you to read about my experience with this set!


Moondrop JIU Unboxing: Moondrop JIU Unboxing Short

Check out previous reviews here (or in spanish here)


Disclaimers:

• This product was purchased with my own money
• Analysis over 5 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)

Unboxing, Build, and Comfort

JIU: The housing is crafted from alloy metal, featuring a minimalist black design with a golden flower emblem. These IEMs are small, bean-shaped, with a nozzle of approximately 5mm. The cable is non-detachable, quite thin, and doesn't tangle easily. On the right side, there's a volume controller and a microphone. The USB-C termination in charge of the DSP process.

Volume Control and Mic: Both work well, although the microphone needs to be brought close to the mouth for clearer voice transmission.

Driver: 10mm dynamic driver with a diaphragm coated in titanium nano crystals.



Pouch/Bag – Earhooks - Moondrop Spring Tips (wide bore eartips) - Waifu



Comfort: Without earhooks = 2.5/5, the Spring Tips provide a good seal, but the cable doesn’t stay correctly over the ears, which can cause the JIU to fall off the ear when adjusted. – With earhooks = 4/5, decent seal. The earhooks disappear over the ears and secure the cable in place. A peculiar but comfortable design overall. These IEMs are great for use while lying down due to their minimal protrusion.



Functionality & Sound

Sound Profile

Credits: Paul Wasabii

Harmanish signature, aiming for Moondrop's VDSF target, with cold or neutral touches as the subbass/bass is less elevated, while the presence region (5kHz) and upper treble in the spectrum present some interesting peaks.


Noise Floor

One of my main issues with the JIU is its noise floor. In passages where the music's volume drops drastically, the hissing is noticeable. It mostly affected the playback of soloists like Adele and Amy Winehouse, as well as orchestras when only a few instruments were playing and background noise could be heard.


Gaming

First, I tested the compatibility of the JIU with Windows, and there were no issues connecting it using a USB-C to USB-A adapter. However, I tried games on my smartphone since I felt more comfortable using them this way.

I played two games: Monument Valley 2 and Motorsport Manager 3. Here, the hiss is quite noticeable when we're in menus where the game music is calm. Jumping into the action, the engine noises are well-defined, and the hiss becomes somewhat less apparent. In Monument Valley, the hiss is more noticeable and bothersome because the game features tranquil background music tracks depending on each level.


How they stack against my usual $20 USD recommendation?



Many of you might think that 7Hz pays me something to use the Zero as a comparison so often in my reviews, but no, I'm simply a reviewer who values a lot the price-to-performance ratio of the products I test, and the Zero were the first ones in this price range that fascinated me with everything they offered. Let's see if the JIU can challenge it!


Credits: Paul Wasabii

Bass







Listening to "All Nighter" by Tiesto and "Suburbia" by Tove Lo, I noticed that the subbass has better reproduction and rumble in the 7Hz Salnotes Zero, but both are close in this regard. On the other hand, the impact and control of the bass are similar in both cases. Neither of the two IEMs stands out in terms of quantity, and in terms of quality, they are on par with the average in this price point. In heavy metal songs like "Welcome To The Circus" by Five Finger Death Punch, both tend to lose a bit of the kick drum, focusing more on the guitarists and the lead vocalist.








Mids

The lower mids have more body and weight in the Zero, giving authority to Sinatra in "Teach Me Tonight." In both cases, the trumpets and saxophone take on a somewhat aggressive character to the ear with good definition (in the case of trumpets, the JIU makes them a bit more piercing). However, the ensemble of instruments harmonizes better in the Zero, presenting itself with some smoothness while making sure to retain as much detail as possible.

During "Rolling in the Deep", the JIU exhibited better tactility and texture as the acoustic guitar is played in the introduction. The presentation of Adele's voice is similar, but here the JIU makes female vocals forward, imbuing them with more energy. However, this is a double-edged sword as the rest of the instrumentation sounds somewhat muted in comparison.
Something interesting is that the Zero faithfully reproduced the reverberations heard in the room where this song was recorded.

Lastly in this section, while listening to the ending of "Granite" by Sleep Token, the JIU showcased their mastery in the upper mids, excellently reproducing the electric guitars. Also, by allowing the lead singer's voice to stand out a bit more (since compared to Sinatra, Vessel's voice is higher-pitched), the JIU avoid excessive congestion between the guitars, bass, and drums. However, the main vocalist's voice can become fatiguing after a while due to the emphasis on the lower treble.


Treble




When I listened to "Rolling in the Deep", the cymbal played on the right side during the chorus shines much brighter with the JIU, potentially becoming somewhat intrusive for some users. The Zero, at volumes between low and normal, relegate it more to the background, presenting a more pleasant experience.


The cymbals, both hi-hats and crashes, in Slayer's "Black Magic" are more upfront and provide an extra sense of detail with the JIU, although they are more piercing in their execution, to the extent that, if you listen genres where many higher pitched percussion instruments are involved, I find it difficult to recommend the JIU. As I listen at lower volumes, the treble of the Zero doesn’t sound fatiguing to me. Even though at normal volumes it isn’t as relaxed, in comparison, for extended listening, I would choose the treble presentation of the Zero every day of the week.


Soundstage and Imaging

The imaging in both is good for the price, and I would venture to say that the JIU does a better job at localizing the position of instruments while I was listening to "Bohemian Rhapsody/Radio Gaga" from Queen's live album during Live Aid. However, its three-dimensional stage is narrow in width, which in my opinion affects the efficient separation of instruments. It may sound contradictory, but the positioning of the instruments is accurate while their differentiation during "complex" passages is poor.

Regarding soundstage, the Zero is much more capable, with slightly greater depth and spacious width, providing a more realistic experience.







Side Note: The JIU is forgiving to poorly mastered music.


Conclusion

Objectively, Moondrop did a good job with the tuning, with the only flaw being the overwhelming treble reproduction. Despite their neutral signature and solid build, the DSP disappointed me, preventing me from enjoying games or genres like orchestral music due to its constant hissing. While it's nearly imperceptible with more energetic/vivid music, quieter passages are a struggle and quite bothersome.

Considering that these IEMs typically cost around $5 USD more than the 7Hz Salnotes Zero, I don't see many reasons to choose the JIU. They have their advantages like decent construction and comfort, along with some of the best eartips I've tried so far (Spring Tips). However, in terms of sonic and technical attributes, it can't be considered that these are better than the Zero.

TempoTec Sonata BHD Pro: powerful with a touch of warmth



Introduction

As the Sonata HD PRO was my first dongle, I have a great appreciation for the TempoTec brand, and today I'm pleased to bring you my review of their latest dongle: the BHD Pro, which at $89 USD aims to compete with well-known dongles such as the Truthear Shio ($69) and the Tanchjim Space ($89).


TempoTec BHD Pro Unboxing: BHD Pro Unboxing Short

Check out previous reviews here (or in spanish here)


Disclaimers:

• TempoTec kindly provided me with this product for an honest review. You can find the BHD Pro here: https://www.aliexpress.com/item/1005005632023075.html?gatewayAdapt=glo2esp
• Review based in 2-4hs listening sessions each day across 5 days
• I’m a low level listener, take it into account for the analysis in the “Power” segment

Unboxing, Build & Accessories



Device: similar in size to the Sonata HD PRO (length: 5.5cm, width: 2.1cm, depth: 1cm (USB-C connection area) – 1.1cm (3.5mm and 4.4mm port area)).









Construction entirely in aluminum with a transparent zone that allows observing the two chips that make up the BHD Pro (both CS43131). Volume button on the left side (approximately 50 steps). RGB LED strip indicating the quality of the audio being played.



USB-C to USB-C cable - USB-C to USB-A adapter - Carrying pouch



Functionality & Performance

Sound Profile

The BHD Pro is a dongle that imparts warmth to the sound signature. It doesn't overly color the signature, but the elevation of the bass in different headphones is noticeable.


Power

This new TempoTec device aims to enter the market where the Shio and Space belong by offering more power for a similar price. What do I mean by this? The BHD Pro has two outputs (3.5mm and 4.4mm) just like the Shio, but it boasts double the power of the latter (Truthear Shio - > 3.5mm: 55mW@32ohms – 4.4mm: 150mW@32ohms - TempoTec BHD Pro - > 3.5mm: 140mW@32ohms – 4.4mm: 280mW@32ohms). Additionally, it provides around 50mW more power in its balanced output compared to the Tanchjim Space, both being available at the same price.



In terms of testing:

The 7Hz Salnotes Zero is the “easy” test once again. With the BHD Pro at maximum volume and only 3 steps of volume on my phone, the Zero gains enough dynamics to be highly enjoyable. In my opinion, the 4.4mm output isn't necessary in this case, but for those who need it, I would say it's nearly twice as powerful at the same volume.

For the KZ PR2, I feel that using the 4.4mm input is necessary to bring it to life, thus opening up the soundstage and enhancing detail retrieval.

Next, I had to test the HE400SE using the 3.5mm output as I don't have balanced cables. The volume it reaches seemed acceptable to me, but the performance and microdynamics fell short compared to the small desktop DAC/AMP, the FiiO E10K (not to mention the iFi ZEN Air CAN). This isn't inherently the BHD Pro's fault, but it shows that demanding planar headphones won't perform optimally with this dongle when connected in an unbalanced manner.


Battery Consumption

• Test conducted with the dongle at maximum volume and three volume steps on my phone (Samsung Galaxy A50).
• IEM used: KZ PR2.
• The test was performed without multitasking, only music playback with my smartphone locked.

Results:

• 3.5mm Output: Battery consumption in 1 hour = 12%.
• 4.4mm Output: Battery consumption in 1 hour = 14%.

vs TempoTec Sonata HD PRO

Although belonging to the same brand and housing the same chip inside, it's easy to identify the differences and similarities between these two models:

• The BHD Pro makes hard-to-amplify IEMs like KZ PR2 shine, thanks to its balanced output.
• However, the BHD Pro's warm signature makes it more suitable for IEMs lacking punch, while the HD PRO, being quite neutral, faithfully represents any IEM and offers better overall resolution.
• The construction of both is spectacular, and I appreciate that the new BHD Pro features a much larger number of volume steps, preventing sudden volume jumps.
• Both are plug & play on Windows.
• The stock firmware of the BHD Pro had better implementation than that of the HD PRO, avoiding strange music cuts during playback without multitasking.
• Lastly, the BHD Pro takes slightly longer to heat up than the HD PRO at a similar volume.

Both are excellent portable options from TempoTec. However, I feel that the BHD Pro could have a slightly more aggressive price to attract more consumers.


Recommendations

As I've been emphasizing throughout the review, the warmth added by the BHD Pro is welcome when using gear leaning towards neutral. That's why I noticed that it paired excellently with the 7Hz Salnotes Zero and the LETSHUOER DZ4. On the other hand, with the KZ PR2 and the Whizzer Kylin HE10, the extra warmth only muddied their midrange a bit more.


Conclusion

The TempoTec BHD Pro is a powerful beast in a small and portable form factor. It's impressive in terms of power delivery, but its potential is not always fully harnessed due to how the BHD Pro colors the sound, limiting its versatility.

A great addition for those seeking to add impact to the bass of their colder-sounding headphones and for users who require power on the go.

Which LETSHUOER set is right for you? ft. D13, S12 PRO & DZ4



Introduction

This week, since the LETSHUOER D13 is not a novelty and has already generated quite a buzz, I thought of creating an extensive comparative review among the 3 models that LETSHUOER sent me. Overall, they target an accessible segment for all consumers, all of these being IEMs priced around $100 USD.

Which of these 3 will be the king?


Video Review:

S12 PRO Review: https://www.head-fi.org/showcase/letshuoer-s12-pro.26277/reviews#review-30948

DZ4 Review: https://www.head-fi.org/showcase/letshuoer-dz4.26594/reviews#review-31317


Disclaimers:

• LETSHUOER kindly provided me with these products for an honest review.
  • You can find the S12 PRO here: https://letshuoer.net/products/lets...-ear-monitors-for-audiopiles-and-music-lovers
  • You can find the D13 here: https://letshuoer.net/products/letshuoer-d13-dlc-diaphragm-dynamic-driver-iem-moving-coil-headphones
  • You can find the DZ4 here: https://letshuoer.net/products/lets...ngle-passive-radiator-edc-hifi-in-ear-monitor
• Analysis over 5 days – Sessions of approximately 2 to 4 hours.
• All music is lossless (Qobuz > 16bit – 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)
• LETSHUOER D13 was used only with its silver filter

LETSHUOER D13 Pics
(So you can witness the beautiful presentation, construction and accessories)














Brief summary of the 3 sets

Credits: Ian Fann

S12 PRO: Warm, slightly V-shaped signature with a good focus on subbass without sacrificing too much presence in the mids, and with highs that aren't overly bright, avoiding uncomfortable sibilance.

DZ4: Signature aiming for neutrality (similar to the new IEF neutral target). It's the least "musical" of the 3, focusing on giving more prominence to the mid frequencies (especially upper mids). Optimal highs for individuals sensitive to this frequency range.

D13: The S12 PRO’s son in terms of tonality, with a slightly lesser emphasis on subbass/bass, allowing voices and instruments to come forward, but with highs that are somewhat brighter, which might become fatiguing.


Scores (TL;DR for those who prefer a more concise format)

• Best to worst (left to right)
• More ">" indicates a greater difference
• "=" is used to indicate that the left and right sets are similar in a certain aspect
• “>=” indicates that two IEMs could be similar depending on the song

. Ergonomics: DZ4 >> S12 PRO = D13

. Driveability: D13 >> DZ4 >> S12 PRO

. Bass: S12 PRO > D13 > DZ4

. Mids (Male Vocals): D13 >= S12 PRO > DZ4

. Mids (Female Vocals): DZ4 >> S12 PRO = D13

. Mids (Instruments): S12 PRO > DZ4 > D13

. Treble: S12 PRO >> DZ4 > D13

. Imaging: S12 PRO >> D13 > DZ4

. Soundstage: DZ4 >= S12 PRO >> D13


Testing with different songs

*For the sake of simplicity, I will only mention a few songs and how they were reproduced by the different models I have tested*

"Five Magics" - Megadeth

S12 PRO: The tactile sensation it provides to both electric guitars and bass is astonishing; every note in the introduction can be easily distinguished. The drum kicks are quickly noticeable, precise, and well-controlled, along with the impact of cymbals which keep the hi-hats and crashes in check, both maintaining a high level of extension. When Dave Mustaine starts singing, the S12 PRO manages to prevent the instruments (especially the bass) from overshadowing the lead vocalist too much, although I must acknowledge that it's the signature that hides the lead singe the most.

DZ4: As soon as the song's lyrics begin, it's easy to notice that the bass is less present, allowing Mustaine to showcase his talent. Additionally, the attack and decay of the hi-hats are quicker compared to the S12 PRO, which has a greater amount of air. The electric guitars have a similar reproduction across the three models, but the DZ4 takes the lead here, representing them with more energy and managing to provide the most detail in each strum. The drum kicks are considerably attenuated compared to the S12 PRO and D13, and the same goes for the bass, which gets somewhat lost in the mix.

D13: Among the three, I feel that the D13 achieves the best balance in reproducing this song. The singer's voice articulates almost perfectly with the guitars, preventing them from interfering with each other. Meanwhile, the bass remains audible despite taking a backseat, and the cymbals have a reasonable impact, with the crashes being slightly piercing. The issue with the D13 is its representation of soundstage, and this is something you'll likely see me mention several times throughout my analysis, as it narrows down the space in which the songs are being played, causing the instruments to obstruct each other, thus losing clarity and details.


"Vivo Per Lei" - Andrea Bocelli



S12 PRO: The body and weight of both male and female voices are nearly equivalent, resulting in a beautiful duet in this case. As for instruments, the piano takes precedence until it stops playing. That's when the bass takes the lead role, while the drums set the rhythm and the strumming of the guitars also accompanies weakly. Fortunately, cymbals are pleasing to the ear along with good clarity during drum kicks.

DZ4: In this song where two voices of different genders sing in unison, something I had already noticed in my previous analysis of the DZ4 becomes apparent. The female vocals have more vividness in their reproduction, and when singing the chorus, Bocelli falls slightly behind. However, compared to the other two models, the DZ4 is focused on highlighting the vocals more than the instruments in the lower range. In the song's introduction, the piano asserts its authority and is adequately detailed, but after the first chorus, both the bass and the drums serve only as background, with the most notable being the impact of the drummer's sticks against the toms and snare drum. The reproduction of the highs is somewhat lacking, losing a bit of detail that the cymbals should provide.

D13: The experience is quite similar to what the S12 PRO offers, where his and her voices are balanced very well, with both taking the lead role. In this particular song, the instruments don't suffer as much from the D13's limited soundstage presentation and are easy to identify and differentiate. Also, with slightly less elevated bass, the guitar strumming sounds a bit clearer, although the definition of the piano is slightly worse than in the other two models. The impact of cymbals is just slightly brighter than in the S12 PRO but never becomes bothersome in this case.


"Swan Lake, Op. 20, TH. 12 / Act I: No. 2 Valse (Corps de Ballet)" - Tchaikovsky (Brightness test)



S12 PRO: Predominant reproduction of violins with sufficient texture for a semi-analytical listening experience, while cellos and double basses have good weight to avoid getting lost among other instruments. The winds are softer and delicate when they take the lead role. When both strings and winds come together, they articulate well, and in general, there are no issues with instrument separation. At higher volumes, the triangle at 2:15 might sound a bit bright and fatiguing for some, but at moderate to low volumes, it won't pose a problem for most listeners.

DZ4: Unlike the other two sets, the winds take on an impulsive character and match the violins while playing together around the 1:30 mark. This also indicates that the tactile sensation of the stringed instruments' notes is somewhat reduced. Cymbals have a quick decay, and the DZ4 manages to make the triangle at 2:15 sound as non-fatiguing as possible, sacrificing some microdynamics for a more soothing reproduction for the listener.

D13: Once again, the rendition of this piece is similar to the S12 PRO, but in this case, the compressed soundstage does significantly affect the orchestra, crowding the instruments together. It's still possible to discern between the different instruments being played, but the orchestra as a whole feels tight in one place, causing the sounds to come more from the center than the sides. However, the main issue in this song is that the highs become extremely fatiguing during the impact of the triangle. Furthermore, there is a loss of resolution in this domain since the D13 has the weakest extension in the highs. Apart from this, the strings have better bite than in the S12 PRO, making them more authoritative and resolute than the winds. Also, the timpani, being less powerful, allow other instruments to shine more.


"Miami" - Sonic (Hotline Miami EP)



S12 PRO: This song highlights how the S12 PRO has the best extension into the subbass region, excellently (even a bit viscerally) carrying the baseline with constant subbass notes while also clearly representing the drum kick. The cheerful synthetic sounds also don't tend to get lost, creating a good harmony within the whole ensemble.

DZ4: This model also provides good differentiation between the drum kick and the subbass bassline, with the latter having a bit more authority but not reaching the satisfying level offered by the S12 PRO and D13. However, electronic sounds steal the show in the DZ4; they come forward much more than in the other two IEMs and carry an extra energy that makes them very lively.

D13: In most EDM or similar songs, where the separation of instruments isn't as involved, the intimacy of the D13 is welcomed. It offers well-extended bass, nearly on par with the S12 PRO, and achieves a slightly better balance between subbass and synthetic sounds.










"Live After Death" (album) - Iron Maiden (Soundstage, Imaging & Instrument Separation test)



S12 PRO: A well-wide soundstage, effectively separating the two guitarists, though I feel that the drums could be slightly deeper in terms of placement – Imaging and instrument separation are top-notch. Each guitar has its side, then Bruce Dickinson is nicely centered, the bassist close to him, and the drummer feels somewhat behind both.

DZ4: The soundstage width is narrower than that of the S12 PRO, but it notably has more depth, making the drums sound closer to the occipital region – Imaging can get a bit congested in situations where the guitarists need to play the same notes together. It's also possible to lose focus on the bassist. Apart from that, the instrument locations are perceptible.

D13: The most intimate of them all, making the guitarists come too close to the lead vocalist. However, the drummer maintains reasonable depth – Because the soundstage is limited, the image is affected due to the clutter instruments face. The bassist is much more noticeable than in the DZ4, but there isn't proper differentiation between the left and right guitars.









Conclusion

There is a clear winner in this lineup, and it's the S12 PRO, justifying why it’s priced around $40 USD higher than its relatives. As I mentioned in my review of this set, the sound quality of the S12 PRO is quite astonishing to obtain for under $200 USD. In this analysis, it became clear to me that it is the most detailed and has the best imaging among the three sets I own from LETSHUOER, also demonstrating incredible fidelity in its bass and treble reproduction. It adapted perfectly to my favorite genres (heavy metal, EDM, and classical music), but I imagine it's an IEM capable of superbly reproducing any song that comes its way.



On the other hand, the DZ4 is the counterpart to the other two models analyzed, as they are more neutral IEMs, focused on vocals and instruments in the midrange, highly recommended for those who love genres with female voices as protagonists (lyric pop, opera, or even soloists like Adele in my case). Additionally, the more relaxed presentation of the highs could be a plus for some, although with a slight loss of details. The real drawback (at least for me) is that you'll have to forget about getting powerful bass with these IEMs.

At the beginning, I mentioned that the D13 aims to be a little S12 PRO, and I think it comes very close to achieving that. It adapts quite well to various genres, with EDM and melodic studio albums being its strong points, offering a more accurate representation of both male and female registers compared to the DZ4. However, its major issue is the soundstage it provides, causing live performances to sound overly compressed (other issues: lack of detail due to soundstage and strident highs).

I believe that if the prices of the D13 and DZ4 were a bit lower (around $50-70 USD), they would be strong rivals against the competition, allowing more people to experience the quality LETSHUOER has to offer in a more attractive consumer segment.

Introduction

CVJ recently launched the KE-S model, targeting a budget-conscious audience. I went from evaluating IEMs under $100 USD to testing one under $10 USD. Let's see how they fared!

Watch the video review here

Check out previous reviews here (or in spanish here)

Thanks a lot to CVJ Love for providing me with this unit to review, you can find the CVJ KE-S here: https://es.aliexpress.com/item/1005005691963122.html?gatewayAdapt=glo2esp


Unboxing, Build & Comfort

Build: This is where CVJ cut costs. The build feels toy-like, entirely made of very lightweight and transparent plastic, through which the driver can be seen. Nozzle size is approximately 5.5mm.



Driver: Dynamic dual-cavity driver with a PU (polyurethane) diaphragm.



Cable: Another area where costs were reduced. The cable is simple, with QDC connectors. Its description states that the core is 4N copper (OFC) woven with Kevlar fibers. In my experience, it tangles easily, and I opted to use another cable since the IEMs are compatible with 0.78mm 2-pin cables.



Tips: 3 pairs, which is reasonable for the price. They are silicone with a standard bore. They do their job.

Driveability: The KE-S are so easy to drive (impedance: 22 ohms, sensitivity: 122dB/mW) that I have to use them at the minimum volume on my iFi ZEN Air CAN. This makes them ideal for use in any context (indoors or outdoors).

Comfort: They are lightweight with a decent ergonomic design, allowing for hours of continuous use without the need for readjustment. The seal is okay but not surprising.



Sound Description


Credits: https://ianfann.squig.link/

Sound profile: Warm V-Shape

Equipment used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)



Gaming

I used these CVJ earphones to play Apex Legends. The identification of enemy gunfire direction was accurate, but it became more challenging to discern footsteps in buildings, making it a bit harder to tell whether the sounds were coming from above or below.

The problematic aspect here was that the distance at which opponents could not be distinguished adequately, possibly putting me at a slight disadvantage.



Music

Albums/singles:

• “Live After Death” – Iron Maiden
• “Pump It” – Electric Callboy
• “Happier Than Ever” – Billie Eilish
• “New York” – Frank Sinatra
• “Kx5” - Deadmau5, Kaskade
• “Goodiez” – Jauz
• “25” – Adele
• “Back To Black” – Amy Winehouse
• “Tchaikovsky: Swan Lake, Op.20, TH.12” – Boston Symphony Orchestra
• “Greatest Hits” – Queen

Bass

It is the frequency that stands out the most in the KE-S, offering a good amount of subbass and bass for bass lovers .However, they are not extremely overpowering, but I would confidently say that it muddies the midrange more than I would prefer.

The extension of the subbass was a pleasant surprise, reaching ranges below 50Hz with ease. The elevated midbass also has a good tonal reproduction but lacks some speed, losing a bit of rhythm when it needs to keep the pace. Both of them lack a concrete texture, but I must say they are enjoyable with the right music.

To give some examples, in Heavy Metal songs like "Two Minutes to Midnight" and "Pump It," the bassists and bass drums steal some attention from the rest of the instruments, making it somewhat overwhelming for this genre. However, I thoroughly enjoyed headbanging to some heavy EDM tracks like "Goodiez" and "Eat Sleep," as the impact has a significant boost.

One anecdotal note that didn't ruin my experience but I wanted to mention: in certain songs, I noticed reverberations that don't usually occur with other earphones, causing the bass to resonate more than desired.


Mids

The mids take a back seat in general. However, the vocals retain a good presence as long as the song keeps the bass levels on the lower side. I emphasize this because even in songs with not-so-low notes (like at 1:20 minute mark of "Bohemian Rhapsody" where the lowest sound comes from the piano), these sounds can become invasive for the rest of vocals and instruments.

Taking this caveat into account, the lower mids male and female registers have a good amount of body but stand out much less than the voices in the higher midrange. Also, generally, the presentation of vocals becomes intimate.

The instrument articulation during orchestral pieces is just okay as the KE-S doesn't specialize in instrument separation and can get congested. Both violins and cellos (string instruments in general) sound with moderate or reduced tactility, with somewhat poor definition. On the other hand, in my case, the trumpets and horns were the counterpart, having a stronger/aggressive character in their reproduction without being strident (I love listening to "Luck Be A Lady" to verify this).

In other genres, electric guitars are livelier but also have limited resolution. Pianos are surprisingly harmonious and delicate with decent definition.

So, speaking exclusively about the timbre in this frequency range, it does not present significant flaws for a $9 USD IEM, and despite the bass bleed, I appreciate the lively reproduction of female vocals (especially Amy Winehouse).


Treble

In my case, it did not show any sibilance, but the lack of air is easily noticeable. The point of impact of cymbals is what stands out here, avoiding excessive brightness in most songs, and having a quick attenuation, shortening the sound extension. As you may have already noticed, the $9 USD IEM should not be your choice if you are looking to analyze every detail in your songs.

A typical test I do for the treble is with the "Act I: No. 2 Valse (Corps de Ballet)" from Swan Lake, where at the 2:15 minute, a huge number of chimes fill the scene. The KE-S passed this test with honors, and I sincerely recommend them to those who have high sensitivity to treble.


Soundstage & Imaging

The soundstage is the aspect that I enjoyed the least. The three-dimensional scene feels compact in every way, and the instruments bunch up too much.

Despite this, the imaging manages to be decent enough to distinguish instruments from left to right, and from front to back.



Comparisons

*The comparisons may not be entirely fair as most of the IEMs cost triple or more than the reviewed model*


CVJ KE-S vs Kiwi Ears Cadenza



One of the most recommended IEMs under $50 USD with a U-shaped sound profile.


Credits: https://pw.squig.link/

• To my surprise, the extension and rumble of the subgraves are better in the KE-S, but the Cadenza outperform them in perceived details and exercise better control over this frequency.
• Consequently, the Cadenza display more neutral and resolving mids. Vocals are better focused, and there is a sense of superior balance in this aspect.
• The trebles of both IEMs are somewhat safe and lacking in air. Perhaps, the Cadenza slightly excel in extracting details, but it's a close call.
• Undoubtedly, the separation of instruments, imaging, and soundstage (good width and only okay depth) go to the Cadenza; there's no comparison unfortunately.

CVJ KE-S vs Whizzer Kylin HE10



Do the measurements suggest that the KE-S is a baby HE10, but is that really the case?

• The amount of subbass is only slightly more present in the HE10, while the impact of the midbass belongs to the KE-S, both sets with average definition in this area. Additionally, both bleed towards the midrange, and is more noticeable in the KE-S.
• The midrange is the most relevant difference between these two. When the bass is not heavily involved, both have a focus on female vocals. This is where the HE10 shines, as it manages to tame the bass even in "difficult" songs like "Miss You" and makes the female vocals shine. The KE-S tries to replicate this but still leaves them slightly behind.
• Again, both sets have relatively relaxed treble without much sparkle. The perception of details is somewhat better in the HE10.
• The HE10 is slightly better in terms of soundstage, but honestly, the imaging is similar in both.

Conclusion

I know the comparisons may seem discouraging as they mostly trash the KE-S. However, we must keep in mind that we are talking about a $9 USD IEM!

Being completely honest, they won't be the first IEMs that come to mind if someone asks me for IEM recommendations on a tight budget. But for those who seek a fun sound and want to spend as little as possible, CVJ's most affordable model will leave them extremely satisfied.

Introduction

After more than 10 reviews since I started writing, I wanted to change the format I use and combine it with another hobby I love: gaming. That's why, with this new Whizzer model (and from now on), I will try to show the build and accessories in more entertaining way using photos and summarizing my experience with them as captions attached to those pictures. Additionally, the sound section will include my gaming experience and subjective description of the sound, along with the albums I listened to for drawing my conclusions. I hope you enjoy it!


Watch the video review here

Check out previous reviews here (or in spanish here)


Unboxing, Build & Comfort







Build: It features a strong yet lightweight metal alloy with nice gold accents. The 2-pin connection is recessed (also compatible with other 0.78mm 2-pin cables). The nozzle size is approximately 5.5mm.

Driver: It utilizes a dual cavity 10.2mm dynamic driver with a carbon nanotube diaphragm.





Cable: The outer part consists of two protective layers of silver, while the inner part is made of two high-purity copper cores (5N + Litz) plated in silver. It's an excellent cable priced below $100 USD, with connectors similar to QDC ones. It has a pleasing aesthetic, good flexibility and sound quality.





Tips: Three varieties of EasyTips are included: 3 pairs of ET100 (straight, similar to other balanced tips but with a kind of protrusion), 3 pairs of VC20 (vocal, narrower), and 3 pairs of SS20 (my favorite with a wide bore).



Case: Made of hard plastic, it offers good internal protection and enough space to hold the IEMs and their cable.

Filter brush: A nice addition (I didn't take pictures, hehe).

Comfort: The ergonomics and size of the HE10's nozzle fit me very well. Using TRI Clarion tips, the seal is impressive, and the comfort is top-notch. Highly recommended.


Subjective sound description


Credits: Ian Fann

Sound profile: Following the Harman target curve with a certain warmth in the bass region (V-shaped signature).

Gear used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)


Gaming

Recently, I started playing the remake of Resident Evil 4, and that's what I've been using the HE10 for. As soon as I tried these IEMs with some music, I knew they would be fantastic for shooter-type games. Why? The bass is strong but not overwhelming, and most importantly, the treble plays it safe and lacks a bit of sparkle resulting in a quick decay of sounds in this range. This translates to less strident gunshot sounds to the ear, which I really appreciate.



One of the most important aspects for me in any game of this kind is being able to correctly identify where the sounds are coming from and how far the character/thing emitting them is. Here, the HE10 did a great job. I could easily distinguish where each voice was coming from, shouting things like " Puedes correr, pero no te puedes esconder" or " Hay que atraparlo". The distance was also relatively easy to differentiate, especially in situations like entering a new section of the map where enemies are further away or when a zombie is just a wall apart.


Music

Albums/singles:

• “Live After Death” – Iron Maiden
• “The Sick, The Dying… And The Dead!” – Megadeth
• “21” – Adele
• “25” – Adele
• “Antonio Vivaldi : Les quatre saisons” – Fabio Biondi, Europa Galante
• “Beethoven: The last 3 Piano Sonatas, Opp. 109, 110, 111” – Anne Queffélec
• “Sibelius: Complete Symphonies” - Oslo Philharmonic Orchestra, Klaus Mäkelä
• “Dirt Femme” – Tove Lo
• “New York” – Frank Sinatra
• “Greatest Hits” – Queen
• “DRIVE” – Tiesto

Bass

The boosted subbass and bass give these IEMs their warm tonality (not basshead levels but enough for a proper representation of the entire spectrum). The subbass delivers a magnificent rumble with admirable extension, truly a delight for listening to deep bass notes in rock-like genres and fantastic for enjoying EDM. The bass also holds its power in the signature, but the real star is the subbass. There's a good amount of midbass, but the definition is a bit lacking, affecting the clarity during the impact of drum kicks. Despite this, the signature chosen by Whizzer aligns with my preference, but I must point out that the bass can subtly bleed into the midrange in certain songs.


Mids

Organic and with just the right weight, they sit slightly behind in the mix. However, this doesn't take away from the fact that the vocals retain a natural timbre, especially bringing female vocals with higher registers to life. Male vocals become gentle and serene in comparison. To clarify, I personally found the reproduction of female vocals to be vivid and forward without being bothersome, while male vocals sound a bit calmer or tranquil.

In string instruments, the main violins carry a good weight in each note. One instrument that surprised me was the harpsichord, which presents itself with a lot of character and is distinguishable even when used more in the background. Winds have less weight, making them sound smoother and losing a bit of detail. Obviously, this will depend on the type of instrument, for example, trumpets try not to be too strident, while oboes or flutes acquire an "extra" touch of gentleness, which softens their details.

Then, particularly with the piano, whether it's the star of the song or acting as an accompaniment, it truly stands out in this range. The texture and weight of each note on this instrument are excellent.

Finally, the sound emitted by electric guitars is well done but with a sense of moderate tactility. It's not remarkable, but it's not a point I consider highly negative. I would have liked a bit more sharpness and distinction between each strum played by the artists.


Treble

As I mentioned in the previous segment, the treble plays it safe: brightness was turned down, along with a lack of sparkle in its reproduction. This affects the definition of cymbals and bells' percussion, but on the other hand, it helps to prevent listener’s fatigue since the attack ceases somewhat abruptly. Overall, it strikes a good balance, sacrificing some resolution, although I know treble enthusiasts may not love its representation.


Soundstage & Imaging

As I briefly mentioned during the gaming section, the soundstage and imaging of the Whizzer HE10 is decent, not enough to build a monument around it, but sufficient to avoid getting lost in the three-dimensional scene. I found the width to be average, and the depth is adequate but not its strongest point. That's why its imaging is more precise in identifying instruments/voices from left to right rather than distinguishing those in front of those behind on the stage.



Whizzer Kylin HE10 vs Moondrop Aria


Credits: Ian Fann

• The subbass has more quantity and quality in the HE10. The rumble is much more notable thanks to the focus on this frequency.
• The Aria's signature leans a bit more towards the midbass, reflected in a more prominent reproduction of kick drums. However, more quantity doesn't mean better quality, as both are on par. Aria bleeds more into the midrange.
• The HE10 excels in naturalness in the mids. Overall, the Aria muddles this frequency a bit more with its bass, slightly subduing the vocals.
• Similarly with instruments, the warmth of the HE10 provides more body and texture to instruments in this range.
• The Aria's treble has more sparkle and air, but in both IEMs, I don't find this range overly bright. The Aria slightly favors treble resolution by a small margin.
• Instrument separation slightly favors the Aria, so the imaging goes to this set. The soundstage feels identical. I can't pick a winner, both perform well in this aspect.

With the packaging and accessories that Whizzer offers with the HE10, it seems like an excellent choice over the Aria for those who prefer mid frequencies with more warmth, body, and naturalness, and without as much bass bleed.


Conclusion

In a sea full of IEMs trying to follow the Harman target, the Whizzer Kylin HE10 left me more than satisfied by presenting something that few in this group can achieve: mids with appropriate presence almost all the time, setting itself apart from the V-shaped signatures of other models.

From my analysis, the most relevant drawback is the lack of sparkle and air in the treble, but beyond that, this Whizzer model offers remarkable performance along with stunning design and top-notch accessories for $70 USD.


Final notes:
I want to thank the Whizzer team very much for sending me this product for review. The opinions in this review are 100% honest and my own.

You can find the Whizzer Kylin HE10 here: https://www.aliexpress.us/item/3256...279e2ddbIyoNhn&gatewayAdapt=glo2usa4itemAdapt

Introduction

This time, the LETSHUOER company seeks to innovate with a new IEM featuring an interesting driver configuration (3 dynamic drivers and 1 passive radiator), all while entering the sub-$100 USD segment. Let's see what the LETSHUOER DZ4 have in store for us!



Video Review here

Previous Reviews here

If you wish to read this review in Spanish, click here


Disclaimers:

• LETSHUOER kindly provided me with this product for an honest review. You can find the DZ4 here: https://letshuoer.net/es/products/l...ngle-passive-radiator-edc-hifi-in-ear-monitor
• Analysis over 5 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)

Unboxing, Build & Comfort

To no one’s surprise, LETSHUOER offers us a sublime unboxing experience even in their products aimed at the budget range. The box has a unique design with vibrant orange accents. The presentation is visually pleasing, showcasing the IEMs in the upper section and the included case in the lower part, which will contain both the cable and the different silicone tips.



The DZ4 is, in my opinion, a beautiful pair of IEMs, with a plastic body in an unusual beige color that gives it a very elegant aesthetic touch, and a slightly textured metal faceplate with a lightning bolt-like design in its middle, revealing semi-open grilles in orange. I believe it's a well-achieved combination of sturdiness and lightweight. According to my rough measurements, the nozzle size is slightly larger than 6mm.







The driver implementation in this model consists of 3 dynamic drivers with 6mm titanium domes each and a passive radiator, also 6mm, which responds to the sounds produced by the dynamic drivers using the air pressure created to generate resonance and assist in the bass region. The dynamic drivers interact through a two-way crossover and all deliver their sound through four channels of acoustic tubes.

Accessories are also a strong point in LETSHUOER's products. The cable of the DZ4 is lightweight and pliable, made of silver-plated copper with 4 cores and 216 strands, and it has a 0.78mm 2-pin type connector. For those who have tried the cable of the S12 PRO, I feel that the company listened to the criticisms about the weight of that cable and managed to correct it excellently in this release.



The included silicone tips come in 2 types: some called vocal tips, with a narrower bore, and others balanced tips, with a neither wide nor narrow bore, one could say it's a "standard" size. There are 6 pairs in total, comprising 3 pairs of each variety.



Last but not least, the provided case is a nice addition. It is made of rubber-coated plastic and has a good size to store the IEMs along with their cable. One small criticism I have is that I think the interior should be lined with some foam or similar material to cushion and protect the IEMs from impacts. Additionally, the material used on the exterior easily gets dirty just by touching it.



The comfort of the DZ4 is good with a decent seal using the provided tips. Their low weight makes them comfortable to wear for several hours, but I find that they protrude more than I usually prefer. Nevertheless, I would say it's a comfortable in-ear to use.



Frequency response description


Credits: Hobby Talk

• Signature leaning towards neutral
• Lower frequencies focused on subbass. Gentle bass
• Neutral mids following the new IEF Neutral target, with only a lift at the upper end of the spectrum
• Treble with "mellow" peaks

Subjective sound description

Bass

With a tuning focused on the subbass region, songs like "7th Dimension" by Koan Sound create a very pleasant rumble sensation. The subbass has a decent extension and appreciable impact.

However, when it comes to the bass frequencies, I find them more attenuated and gentler. The bass during "Follow" by Martin Garrix lacks the punch I can find with other earphones. It's a matter of personal preference, but I feel that this area could be improved. Nevertheless, it doesn't mean that the bass is entirely absent; in fact, it is fast and precise, but its presentation leaves me wanting a bit more.

For those who are Heavy Metal lovers like myself, the bass and drum kicks take a backseat in this genre, giving the spotlight to the guitars and singers and kind of “hiding” those instruments behind in albums such as Iron Maiden's "Powerslave" and AfterLife's "Five Finger Death Punch."

The differentiation between bass and subbass is well appreciated, although at times, it can be confusing when sounds from both ranges are reproduced together. In Tove Lo's "Kick In The Head", the bass notes play before a powerful subbass sound. I find that the transition between how the sounds are reproduced could be better represented, but I can still notice the difference between the two.


Mids

In summary, the DZ4 aims for a neutral midrange. Both male and female voices have a natural timbre. Male voices are reproduced smoothly but may appear somewhat subdued compared to the more vibrant and characterful presentation of female voices.

In the introduction of the song "Flaca" where Andrés Calamaro sings along with a higher-pitched backing vocalist, it can be noticed that the backing vocalist's voice can overpower the main artist due to the nature of their voice.

During "Billie Bossa Nova," Billie Eilish maintains a lower midrange tone that can also slightly mitigate her voice in the presence of the bass and acoustic guitar.

On the other hand, high female registers, like Adele's during the chorus of "Someone Like You," really bring her voice forward, making it the protagonist. The warmth in her tone is noticeable but not overwhelming.

Moving on to the instruments, during "Symphony No. 6 in D minor, Op. 104: II. Allegretto moderato" - Jean Sibelius by the Oslo Philharmonic, I noticed a proper articulation among the entire orchestra. The winds sound full-bodied in this piece, while the strings have less bite in this particular piece. In "Symphony No. 1 in E minor, Op. 39: IV. Finale. Quasi una fantasia" by the same artist, the violins come forward a bit more but still fall a bit short in conveying the sensation that each note should have. To a lesser extent, this also happens with the harp here. On the other hand, horns and trumpets make a strong presence with good definition and clarity, considerable weight, and an organic timbre, thanks to the elevation in the upper mids.

Precisely in the mentioned upper midrange, electric guitars gain a greater tactile sensation in their notes. In "Deceiver, Deceiver" by Arch Enemy, they retain a level of detail above average during the solo at the 1:50 mark, without becoming aggressive at any moment and even showing a hint of warmth in their reproduction.




Treble

Up to this point, the tuning comes quite close to my sound preferences. However, LETSHUOER opted for treble that is, I would say, overly cautious.

In songs like "Black Magic" by Slayer, the cymbals suffer from a somewhat strange timber and significantly attenuated highs due to the signature, making them a bit dark for my taste. This affects and reduces the definition of cymbals and bell like sounds.

After listening to "Bicycle Race" by Queen several times, I also notice that the interval where various bicycle bells sound tries to be gentle with our ears by lowering the level of brightness these sounds can have. I can see situations where this more relaxed treble could be useful, but it's a pity that it comes at the cost of losing details and crispness.


Soundstage & Imaging

The soundstage was adequate in terms of width and depth, nothing to fault in this aspect. It allowed me to enjoy songs from "Queen at Live Aid," giving me a good sense of how far back the drummer was from Freddie and roughly estimating the distance of the accompanying guitar.

However, the imaging is a different story. The instrument separation is more compressed than I would prefer. During "The Trooper" on the album "Live After Death" by Iron Maiden, the guitarists tended to blend together despite being separated on the stage. So, the imaging is decent, but I know there are budget IEMs that do better in this regard.


Quick comparison vs 7Hz Salnotes Zero



Surprisingly, and luckily for me, the DZ4 has a similar tuning to the Zero, IEMs that received great praise from myself due to their excellent price-to-performance ratio.


Credits: Hobby Talk

So, after a comparative testing between both, I found:

• Rumble and definition of the subbass is more satisfying in the DZ4.
• Both sets leave me wanting more bass.
• DZ4 and Zero present organic mids with a similar timbre, although the DZ4 brings instruments slightly forward in the upper mid frequencies like electric guitars.
• The Zero "wins" in terms of treble reproduction, having more brightness and detail, which I appreciate, but without being overwhelming. On the other hand, the darkness of the LETSHUOER IEMs can be useful for those seeking to listen to music with a high amount of treble for longer periods.
• Soundstage and imaging are almost equal. In imaging, I lean slightly towards the DZ4, and in soundstage, I feel the Zero achieved a greater sense of depth.

The DZ4 is a clear improvement in terms of build compared to the Zero. Regarding technicalities, I would say that the DZ4 is a sidegrade, not offering a significant leap in performance. However, the darker treble of the DZ4 might be something to consider for users who found the treble of the Zero too bright or sibilant.


Conclusion



After listening to this set, I was left with some questions: What motivated the use of 3 small-diameter dynamic drivers instead of one or two larger ones that might have helped with the bass? And on the other hand, what was the reason behind the odd timber of the treble? Could the passive radiator have had something to do with it?

These doubts that arose do not take away merit from this IEM, which has a pretty balanced tuning aiming to be relatively neutral and performed well with the various musical genres I tested them with.

Edit: updated my rating (downgrade from 4 to 3.5) after making extensive testing between the 3 sets that LETSHUOER kindly provided me to review.

Introduction

TempoTec is a Chinese company that is already well-recognized in the audio world thanks to products like the TempoTec Variotins V6 DAP and the affordable TempoTec Sonata HD PRO dongle.

Now, the company has ventured into unfamiliar territory: the IEM market. Their first release, which I will analyze here, is the TempoTec IM05, a hybrid IEM with 1 dynamic driver and 4 balanced armatures, available at a price of $139 USD.


Video Review here

Previous Reviews here

If you wish to read this review in Spanish, click here



Disclaimers:

• TempoTec kindly provided me with this product for an honest review. You can find the IM05 here: https://www.aliexpress.com/i/3256805447585451.html?gatewayAdapt=4itemAdapt (Aliexpress Official Store)
• Analysis over 4 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort

The presentation of TempoTec's first IEM is impressive. The box that contains the earphones and their accessories is substantial in size and features different "layers" where we find the various elements of this product.



As soon as we open it, we can see the case that holds the earphones, each individually wrapped in a small bag, the cable, and a clip to use with t-shirts or shirts. After taking out the case, we continue to explore and find a rectangular box that includes a wide variety of silicone tips that TempoTec offers with the IM05.



Starting with the IEMs, each one has a resin body with a metallic faceplate that feels toy-like. They are surprisingly lightweight for their enormous size. However, I don't think it's a construction that deserves praise, and for a price of around $140 USD, they feel like cheap IEMs.



On the inside, the IM05 features 1 dynamic driver made of liquid silicone rubber (LSR) in charge of the bass, 2 balanced armatures 1006 for the mids, and 2 balanced armatures 31736 for the treble. Additionally, despite its specifications of 99 sensitivity and 33 ohm impedance, I found it is an IEM easy to drive, with the TempoTec Sonata HD PRO being a good companion for these earphones.


Not the best photo due to black resin

The cable is one of the best accessories included with this pair. It's a 0.78mm 2-pin cable, composed of 4 cores with 112 strands each, made of oxygen-free copper (OFC) plated with silver. Here, it seems they missed the opportunity to include interchangeable terminations, but apart from that, it's a great cable.

As for the tips, they are all made of silicone but vary in their design. The IM05 provides us with three balanced bore tips, three narrow bore tips, and three wide bore tips, allowing for a high level of customization for each user's comfort and sound preference.



Something that I don't give much importance to in many cases is the included case. However, TempoTec has provided one of the best portable cases I've had the pleasure of trying so far. It is made with a type of nylon that covers its entire exterior and has ample size to carry both IEMs and any dongle or extra tips if needed. In addition to being spacious, it has admirable rigidity, ensuring that what is stored inside is well protected.

Comfort is something that needs to be addressed seriously. The IM05s are IEMs with a relatively large nozzle (6mm approximately) along with a bulky in-ear housing due to their numerous drivers. These characteristics make them fatiguing to wear after a few hours, despite their lightweight. The good thing is that once you find the right tips, they provide kind of a decent seal.



Frequency response description

Credits: https://cqtek.squig.link/

• U or V shape signature
• Abundant subbass and bass
• Recessed midrange frequencies
• Prominent peaks in the 2.5kHz and 5kHz region (affecting female vocals)
• Higher frequencies also have an additional boost

Subjective sound description

Bass

I usually provide a wide range of song examples I listened during my analytical and relaxed sessions, but here I will primarily use one song that emphasizes the qualities of both subbass and bass.

"Suburbia" by Tove Lo is an EDM song with a good amount of subbass and bass, combined with the main artist's vocals. Both low frequencies are accentuated in this set and have the characteristic of reproducing these sounds with a "boom", showing little definition and texture in the bass department. Additionally, it tends to rumble without apparent reason, overshadowing the vocals of the song's protagonist and blending both frequencies (subbass & bass), making them very difficult to separate from each other.

So, we have seismic sub-bass and bass that rumble, taking away clarity from the mid frequencies. This greatly affects one of my favorite genres: Heavy Metal, where it emphasizes bass and kick drums when it shouldn't, overpowering the singers and electric guitars on stage. However, they do a decent job with genres like Electro Swing, for example. In "That's Right! (Jamie Berry Remix)" by Swingrowers, there are synthetic sounds at play, and I can appreciate the somewhat uncontrolled punch that the bass delivers.


Mids

I have never heard more distant vocals on any other IEM out of all the ones I have tried.

During Queen's album "Greatest Hits," I found myself turning up the volume more than usual to make Freddie Mercury's voice more present. In some songs, it was a viable solution, but in others like "Another One Bites The Dust", where the bass is constantly playing, the sub-bass/bass of this instrument really makes it difficult for the lead singer to shine. Another example of this can be heard in the song "Mil Horas" by Los Abuelos De La Nada, where both the guitars and the male vocals sound distant, and the most authoritative elements are the bass notes along with a short cymbal.

Despite what I mentioned, male vocals retain a correct but dark tonality. However, with the female spectrum, singers who reach quite high notes like Adele in songs like "Million Years Ago", can be piercing to the ear due to the exaggerated emphasis on the high frequencies. Also, due to the significant peak around 2.5kHz, other instruments in this range such as violins and cellos take on a slightly metallic tone, as I witnessed during Mozart's "Symphony No. 4 in D Major, K. 19: II. Andante" performed by The Mozartists, but still retaining good characteristics in terms of sound resolution. On the other hand, wind instruments like horns, trumpets, and oboes have a less piercing character to the ear.

During Heavy Metal albums like "Foregone" by In Flames and "Rust In Peace" by Megadeth, I can appreciate that the hybrid driver setup is fast and precise in reproducing the instruments, giving the electric guitars a good bite (despite a metallic tonality, similar to other string instruments), but overall, the thin midrange ruins the sound enjoyment for me.



Treble

The cymbals in the album "Live Undead" by Slayer sound piercing and somewhat artificial, I would say. The attack and decay of this frequency range are agile, fast, and precise, although not as enjoyable as it quickly fatigues the ear. The triangle that sounds during "Act I: No. 2 Valse (Corps de Ballet)" from Tchaikovsky's Swan Lake also leans towards sharp treble, where the emphasis on that instrument is correct but overly fatiguing. Despite being aggressive, it retains a good amount of detail, showcasing the capabilities of the incorporated drivers.

In summary, it was the frequency that bothered me the least, with certain tonality errors and strong peaks, but still showcasing details in the music.


Soundstage & Imaging

From my usual testing with the album "Live After Death" by Iron Maiden, I concluded that the soundstage has a decent sense of width, and with the album "United Alive in Madrid" by Helloween, IM05 also demonstrated a remarkable depth.

The imaging is slightly affected by the thin mid frequencies, but it still manages to accurately position the instruments on the stage. During "You Know I'm No Good" by Amy Winehouse, it impeccably placed the wind instruments on the right, the guitar on the left, and more centrally, Amy alongside the drums in the background.



Conclusion

TempoTec has shown that they know how to provide a premium experience when it comes to the packaging of their products and the included accessories. For their first product in the IEM market, the team has managed to make the drivers provide very good detail definition and other notable aspects such as appropriate soundstage. However, the sound signature still has a long way to go in terms of improvement, and I hope to see this brand succeed in the future if they refine the tuning of their upcoming releases and improve the build quality.

Last-minute edit: While taking pictures of the IM05, one of its faceplates came off, so I had a glimpse of its internal connections. This makes me lower my rating by another half star.

Introduction

Today, I wanted to analyze and write my thoughts on one of my first non-headphone acquisitions when I entered this niche. The FiiO E10K is a headphone DAC/AMP that the brand has been producing since 2019 and has recently updated to the new E10K-TC version, which maintains a price of $75.99 USD / $50,000 Argentine pesos.

Since this little device has brought me so much joy, I wanted to share my opinion about it with you.

Video Review here
Previous Reviews here
If you wish to read this review in Spanish click here


Disclaimers:

• This product was purchased with my own money
• Review based in 2-4hs listening sessions each day across 6 days
• I’m a low level listener, take it into account for the analysis in the “Power” segment
• All music is lossless (Qobuz > 16bit - 44.1kHz)

Unboxing, Build & Accessories

This is the smallest and cheapest desktop DAC/AMP offered by FiiO, and despite that, it comes in packaging of considerable size with the device excellently protected by a mold made of a material resembling rubber. The mold is firm but soft to the touch when squeezed with the fingers. In a box beside it, we find the Micro-USB to USB-A cable and 6 rubber "feet".




Obviously, I will focus on the main aspect, which is the construction of the E10K. When one buys a budget audio product, it is generally assumed that the brand had to cut costs somewhere, and unfortunately, construction is often an area of interest for making products more affordable. However, with the E10K, it is the opposite. It features a fully aluminum casing. Yes, the volume wheel and switches (bass boost and gain) are made of plastic, but that does not detract from the exceptional craftsmanship for a product considered entry-level.



On the front, we have the knob/dial with markings to indicate if it's turned off ("OFF"), along with an indicator that lights up in blue when it's turned on. It also has numbers from 1 to 8 to indicate the volume level. There is a 3.5mm input for connecting headphones, as well as a "bass" switch that allows for an increase in bass gain, which I'll discuss later.



On the back, there are three ports: the power input for the E10K, which can be used with the provided Micro-USB cable to transmit the signal to the connected computer, a coaxial input that can be used to "convert" signals from other DACs or to connect external amplifiers, and the same applies to the Line Out. Additionally, the back panel features the gain switch with two modes: L (Low) and H (High). It's quite self-explanatory, with L being intended for headphones with higher sensitivity and lower impedance, while H is used for more demanding headphones.

Perhaps the least remarkable are the accessories, with the cable being a generic one but with an adequate length (1 meter), at least in my case. The rubber "feet" may seem irrelevant to many, but they came in handy for surfaces where the aluminum could scratch or easily slide if the headphone cable was pulled.



Specifications

Small but powerful, delivering 200mW at 32 ohms, the FiiO E10K is capable of bringing any type of headphones with a normal impedance/sensitivity ratio to life, and even handling more demanding ones. FiiO recommends headphones with an impedance of 16 to 150 ohms.

Having mentioned its size (specific dimensions: 79mm x 49.1mm x 21mm, weight: 78g), portability is limited as it cannot be powered through smartphones (although some users may find ways to use it with a portable battery). It also features a USB resolution of up to 24-bit/96kHz and can be used both as a DAC/AMP or solely as a DAC thanks to its Line Out input.



Functionality & Performance

Power

As mentioned earlier, I am someone who listens at relatively low volume levels compared to most people. Therefore, with the gain set to L and the volume at maximum 3 (with Windows volume at 100% and my media player at 50% volume), it is already sufficient for me.

The volume and sound output of this FiiO device are impressive to me because, at the price point I acquired it used some time ago, I haven't had headphones that have pushed it to its limits. For this review, I decided to test the E10K with three different headphones, each with different impedance, sensitivity, and drivers:



Firstly, I tested them with the 7HZ Salnotes Zero, which have an impedance of 32 ohms and a sensitivity of 108dB/V @ 1kHz, along with a 10mm dynamic driver. These specifications make the Zero similar to other IEMs on the market considered "easy to drive," as they can be adequately powered by just a smartphone's headphone jack, producing an acceptable (and even loud) volume level. Due to this, the FiiO DAC/AMP had no trouble providing power to them, and in my personal usage, I find myself using them at volume levels 1-2, depending on the genre and whether the album was recorded in a studio or is a live performance.



Next, the testing continued with two considerably more demanding headphones. To start, I tried the new KZ PR2, IEMs that have garnered a lot of attention because they require a source that can provide them with ample power to shine. Their specifications are as follows: impedance of 15 ohms and sensitivity of 94dB/mW @ 1kHz, featuring a 13.2mm planar magnetic driver. The impedance/sensitivity ratio in this case can be deceptive, as it may seem that they are not much more difficult to drive compared to the Zero, but that's not the case. With studio-recorded albums like Megadeth's "The Sick, The Dying... And The Dead!" and Calvin Harris' "Funk Wav Bounces Vol. 2," I found myself hovering around the 2 mark, occasionally surpassing it. However, with live albums like Iron Maiden's "Live After Death" or orchestral performances like Schubert's "Symphonies Nos. 8 "Unfinished" & 9 "The Great"" performed by the Gewandhaus Leipzig Orchestra, I found it necessary to increase the volume to 3 or higher to precisely discern instruments that were positioned further back in the ensemble, such as double basses and cellos.



Then, as the "final boss", I evaluated how well the Hifiman HE400SE (Stealth Magnet version) performed. These headphones have an impedance of 25 ohms and a sensitivity of 91dB, featuring a 10cm diameter planar magnetic driver. This pair is the only one that might warrant using the E10K's High gain setting, as they require a significant amount of power to unleash their full potential. In my experience, using them with the Low gain setting, I consistently find myself surpassing the volume level 3 mark in practically any situation (watching videos/listening to music), and during live performances, I often need to go beyond 4. However, with the High gain setting, I don't need to venture far from the volume level 2 mark.



Sound Profile

The FiiO DAC/AMP offers a sterile sound transmission, in the best sense of the term, allowing you to hear the particular sound signature of your connected headphones without coloring or altering it, remaining true to headphone’s tuning.



Soundstage and Details

Clearly, the E10K is an upgrade in terms of soundstage and detail reproduction compared to cheaper dongles. This device provides a wide soundstage to the listener's ears, along with improved localization and separation of vocals and instruments, thanks to its LMH6643 op-amp.



A simple comparison with the TempoTec Sonata HD PRO showed me during Adele's "Miss You" that the E10K generates a wider soundstage (both in width and slightly in depth), making this song less intimate compared to the dongle. Additionally, small details during the chorus, such as tambourines and faint bell-like sounds in the background, are better perceived by the FiiO device.

When compared to more powerful amplifiers like the iFi ZEN CAN, the E10K falls slightly behind in terms of details and dynamics. However, it's important to consider that the E10K serves a dual function, while the iFi device is solely dedicated to amplification.



Noise floor & Latency

One word: nonexistent. The implemented DAC (PCM-5102) in the E10K helps keep annoying noise to a minimum. When connected to my PC, I have experienced no noticeable background noise with any headphones, and this holds true for both music and gaming.

Speaking of gaming, several users have asked me about sound transmission and whether there is any additional latency when using a device like this. The answer is absolutely not. When playing competitive games like Apex Legends, I have not encountered any audio delay compared to headphones connected directly to the PC. In fact, thanks to the E10K's negligible latency, you will also benefit from its ability to eliminate any unwanted signal interference in the audio, allowing you to fully immerse yourself in the sounds of the game.



Bass Boost


Credits: https://www.fiio.com/e10k_parameters

As the name suggests, the Bass Boost switch allows you to elevate the level of bass in the connected headphones. It works surprisingly well and can be useful for "enhancing" headphones that may be lacking in that frequency range. For example, the HZSound Heart Mirror IEMs greatly benefited from this function, as it enhanced their bass, which I found to be lacking impact by default.



Conclusion

The FiiO E10K DAC/AMP is a legendary product that continues to generate sales for the company, as it satisfies most basic needs for individuals looking to enter the audio world. However, a strong competitor has recently entered the scene: the iFi Uno. Due to the presence of the iFi Uno, which is approximately $10 USD cheaper in my country at the moment (E10K-TC $100 USD vs iFi Uno $90 USD, approximate prices in Argentina), my recommendation for an affordable DAC/AMP would lean towards the iFi option, which even offers slightly more power according to the specifications on their website.

On the other hand, the previous version of the E10K can be found at a very affordable price if you choose to purchase used equipment. In my case, I paid around $45 USD (15,000 Argentine pesos at that time), and at that price, it’s a no-brainer.

Introduction
KZ went crazy and released the cheapest magnetic planar driver IEM on the market: the KZ PR2, a collaboration with the well-known Bad Guy Good Audio Reviews (BGGAR, also known as HBB), priced at approximately $35 USD.

Metal faceplate, magnetic planar driver for budget-conscious users, and on top of that, a collaboration with a famous reviewer? Mmm... Let's give them a try!

Video Review here

Previous Reviews here

If you wish to read this review in Spanish click here


Disclaimers:

• KZ kindly provided me with this product for an honest review. You can find the PR2 here: https://www.aliexpress.com/item/1005005500764660.html (Aliexpress), https://www.kztws.com/products/kzxhbb-pr2 (Official Website)
• Analysis over 5 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC) / TempoTec Sonata HD PRO (dongle)

Unboxing, Build & Comfort

Despite deviating slightly from the more budget-friendly products offered by KZ, we have a presentation that is very similar to the one provided by the rest of the brand's cheaper IEMs.



The entire new range of IEMs KZ has been releasing features a very solid construction. Therefore, the housing of the PR2 is based on transparent resin and a faceplate made of a die-cast metal alloy, which features purely aesthetic grilles as these headphones are NOT open-back. They are relatively heavy in-ears, averaging around 9 grams (most resin-bodied IEMs weigh between 4 to 6 grams). However, it should be noted that the weight comes from the completely metal faceplate and the 13.2mm magnetic planar driver.





The package includes a pair of medium-sized foam tips and the well-known Starlines in sizes S, M, and L. Personally, I appreciated the variety of eartips (the inverted Starlines provide a more than decent seal), although coming from reviewing the Kiwi Ears Cadenza, I think KZ could have included a complete set of foam tips to provide a more comprehensive package.



As for the cable, I'd rather not bother talking about it. You already know it, 2-pin QDC with a 3.5mm termination, but I didn't use it because it didn't present the highs in a correct manner.

The comfort of the PR2 can be divided into two parts. First, with the included tips and also with others, they all provided a fairly good seal, making them good companions for daily commuting. However, in the second part, we have the weight and shape (which I didn't find particularly ergonomic), which made them a bit uncomfortable after the first hour of use. So, in terms of comfort, I would consider them average.


Driving power

This pair doesn't hold back and made me use the 9dB gain offered by the IFI ZEN Air CAN (for IEMs, I usually use it at 0). Additionally, when using the TempoTec Sonata HD PRO dongle at 100% volume, I had to increase the volume on my smartphone to 60-70%, whereas I usually use it around 30%.



Given this, if you're considering purchasing this pair of earphones, I would recommend having at least a dongle that has the ability to amplify from 60mW to 32 ohms or more (preferably more, the PR2 will thank you for it).


Frequency response description


Credits: hbb https://hbb.squig.link/

• Subbass with significant weight
• Fast bass with mild impact but allowing for a smooth transition
• Slightly forward mids
• Non-sibilant treble
• Good amount of air

Subjective sound description (+ small comparisons with LETSHUOER S12 PRO)



Bass

The subbass is a clear standout in this tuning, retaining significant weight. Songs like Tove Lo's "Kick In The Head" become addictive thanks to the rumble achieved by the PR2, and I would even dare to say that it is more satisfying than that of the S12 PRO, extending a little further down in this range and allowing for an intense sensation when the volume is turned up with deeper bass. For electronic sub-genres like Dance, which focus on the lower regions of the spectrum, these KZ earphones are highly recommended.

This characteristic in the sound signature also means that in orchestras, the double basses and cellos have a more defined body when playing low notes, without overpowering other sounds (for example, the perceived depth around the 3:10 mark from the double bassists in Jean Sibelius' "Symphony No. 2 in D major, Op. 43: II. Tempo andante, ma rubato" performed by the Oslo Philharmonic Orchestra).

On the other hand, as is typical of planar drivers, the bass is fast but precise, with quick attack and decay, avoiding the bass from feeling visceral but still well-defined. In Swedish House Mafia's "Calling (Lose My Mind) (Extended Club Mix)," the drop demonstrates sub-bass with good extension into the deepest zone, which helps leave a lasting impression, while the rhythm carried by the bassline takes on a more secondary role, being more agile and less heavy.

This lower range is less prominent than in the S12 PRO, and despite having a similar prowess, I personally prefer the bass of the LETSHUOER IEM due to personal tuning preference.


Mids

Both male and female vocals have a certain sense of being forward in songs. They mostly sound natural and clear, although I found male vocals to be slightly more realistic than female vocals. This may be because I felt they provided a greater sense of tactility, while the female vocals felt slightly duller (without it being a significant issue, and objectively speaking, I think it is a well-achieved range nonetheless).

Singers with a higher register, like Bocelli, seem to be present in a similar quantity as female registers. That's why, when he sings alongside Gerardina Trovato in the album "Romanza," both can stand out at the same time. However, lower registers, such as Sinatra's, are represented with a bit more power and prominence, giving them a touch of authority. This allows the latter to always stay in the forefront in the song "Teach Me Tonight."

On the other hand, in songs where Adele's voice can sound quite sharp, such as "Rolling in the Deep," this characteristic is also noticeable, where her voice takes on significant prominence during the chorus.

Next, a brief description of what I experienced during "Symphony No. 8 in B minor, D. 759 'Unfinished': II. Andante con moto" by Schubert, performed by the Leipzig Gewandhaus Orchestra: exceptional articulation between the instruments in the mid and low ranges (violins, trumpets, and double basses) for this price range. Despite the violins being prominent in the first part of this piece, they do not sound piercing, yet retain the sensation of each note played. While the violins take center stage in this composition, when the cellos sound, they have an immaculate background presence that prevents them from getting lost and clearly respects the instruments that come before them. The same goes for the double bass when it appears on the scene. In the second part, the clarinet and oboe, leading to the culmination of the song, maintain their clarity but sound soft and silky to the ear.

Lastly, roughness and breaths during singing are heard clearly, as in the case of Dave Mustaine's raspy voice, which is very well represented, and the multiple breaths of Adele on the album "30."

I would say that, in terms of timbre accuracy, the PR2 brings the midrange frequencies forward, while the S12 PRO aims for a more neutral tuning. In terms of the ability to retain details in this range, the KZ falls just slightly short of the S12 PRO, which is a compliment considering that the PR2 costs three times less.



Treble

In my Heavy Metal library, I discovered that cymbals have a much more musical character in my opinion, and they are even more gentle to the ear than the S12 PRO (which subjectively also didn't strike me as particularly bright). They follow a “relaxed” tuning in the treble frequencies without becoming dark. Additionally, within the album "The Sick, The Dying... And The Dead!" by Megadeth, the small chimes during the introduction of the song "Dogs Of Chernobyl" also show no signs of brightness.

Precisely for this reason, they are not masters of detail in this area, but they are well-suited for long music sessions in any genre without leaving you fatigued, as they have a careful presentation in reproducing the treble. As I mentioned in my previous review, the S12 PRO also left me wanting a bit more detail in this range, so I would consider these IEMs to be quite on par in this aspect.


Soundstage & Imaging

To be completely frank, comparing the soundstage of the PR2 to the S12 PRO doesn't make much sense. The drivers of both earphones are capable of presenting a scene with sufficient width but with average depth based on my testing.

Image reproduction is a virtue inherent to planar magnetic drivers, and the PR2 is no exception. In songs like "Alta Suciedad" by Calamaro, where the guitars are played very close to each other, this earphone manages to make me distinguish which side each one is on. Similarly, in more complex orchestral works, using the example of the Gewandhaus Leipzig Orchestra I mentioned earlier, there were no issues discerning the positions occupied by each group (percussion on the right, low strings more towards the left, winds and violins around the center, etc.). Once again, it's a highly resolving driver that puts up a good fight against LETSHUOER’s IEM.



Conclusion

Honestly, in my experience, it was one of the best sets I have tried in these past few weeks, and it's truly amazing that an IEM in this price range can achieve this level of satisfaction for me. Unfortunately, this is where I have to address the title of the review: the PR2 is difficult to obtain due to the following reason:

• KZ changed the design of the PR2 by removing the black mesh which covered the driver and relocating it elsewhere (according to some, to the nozzle of the earphone). This, in some cases, created variations in the treble, making it sound shrill and different from the initial tuning goal.

For this reason, the PR2 that you may purchase might be different from the one in this review, and because of that, I cannot give it a 5-star rating. I loved them, but I know other users’ experience may not be the same

Introduction

Arriving a little late to the party (about 6 months late, haha), I find myself analyzing one of the most praised in-ear monitors in the sub $50 USD price range: the Kiwi Ears Cadenza.
Kiwi Ears is a brand that has recently made its mark in the world of IEMs. In 2021, they introduced a model aimed at a more premium range, the Kiwi Ears Orchestra, priced at $500 USD, which left a good impression. A year later, in an attempt to reach a larger audience, they designed the Cadenza, which needs no introduction and are the IEMs I'll be talking about today.

Video Review here

If you wish to read this review in spanish, click here


Disclaimers:

• Kiwi Ears kindly provided me with this product for an honest review. You can find the Cadenza here: https://www.linsoul.com/products/kiwi-ears-cadenza
• Analysis over 5 days - Sessions of approximately 2 to 4 hours
• All music is lossless (Qobuz > 16-bit - 44.1kHz)
• Gear Used: IFI Zen Air Can (AMP) + Fiio E10K (DAC)

Unboxing, Build & Comfort

Cadenza comes in a blue box regardless of the color variant you purchased. I found the packaging to be nice for a product considered budget-friendly, with the beautiful pair of IEMs in violet (in my case) displayed on the front, and underneath them, the selection of ear tips along with the cable.




I'm not someone who pays much attention to the aesthetics of my audio gear, but I must admit that Cadenza pleasantly surprised me, and I would dare say they have the most beautiful design under $50 USD. Their construction, using a 3D printing process with resin as material, is solid, very lightweight, and offers the possibility of having a variety of designs with vibrant colors such as blue, violet, red, and green (Design names: Verse, Prelude, Chorus, and Solo, respectively). Each one has two small vents in charge of preventing driver flex and alleviating pressure in the inner ear cavity.



In addition, it features a 10mm beryllium diaphragm dynamic driver, which the company tells us: "Beryllium diaphragm drivers are still considered the pinnacle of dynamic drivers in speakers, headphones, and earphones."

The cable provided with the Cadenza is decent for the price. It's not "wow" and it won't be better than a separately purchasable cable, but it serves its purpose well (providing good sound and complementing the aesthetics). I don't see a reason to change it unless you want to use the IEM with balanced connections. It uses a 0.78mm 2-pin configuration and consists of 4 cores of braided copper.



The quantity of silicone ear tips is more than adequate for the price. Kiwi Ears provides us with 9 pairs of tips that have a normal-sized bore. Personally, I would have liked the variety of eartips to include not only normal bore tips but also 3 pairs of wide bore tips and 3 pairs of narrow bore tips to allow for more customization. In my analysis, I ended up using different eartips (wide bore ones) which helped enhance treble definition and slightly widen the soundstage.

Comfortwise, these earphones are spectacular once you put them on. They disappear after being inserted due to their small size and how lightweight they are. Additionally, with various types of tips (both included and others I used), they always provided an exceptional seal to the ear, I had to take one out of my ear to understand what someone next to me was trying to say. Comfort and isolation, overall, are almost a 10. The small detail I would mention is that they protrude slightly due to their shape, but it's not something that bothers me except for specific use cases like using them while lying down.


Frequency response description


Credits: Aftersound

• Sound signature in a slight U shape
• Powerful but not excessive subbass and bass
• Present mids without strange peaks
• Treble bordering on bright but remaining under control
• Decent amount of air

Subjective sound description



Bass

Cadenza offers an interesting amount of subbass and bass, closely following the Harman target curve (although with a slightly increased bass), which may leave bassheads wanting more.

The bass is an intriguing aspect of the Cadenza. It adds a certain warmth to their sound signature, but the notes in this range lack clear definition and exhibit a slightly slow speed, as I noticed in "Back to Black" by Amy Winehouse. This doesn't mean that the bass disrupts the overall sound signature. In fact, Amy's vocals never got lost behind the bass, as it remained well-controlled. Moreover, the pronounced punch they bring to EDM songs like "Sacrifice" by Deadmau5 makes these tracks a very enjoyable experience. However, the mentioned characteristics result in a slight lack of detail in this range (although, considering the price of $35 USD, I still find the level of detail decent).


Mids

Amy Winehouse, Sinatra and Bruce Dickinson didn't have to fight against any other sounds to stand out. The mids have a timbre that remains faithful to the real sound, just slightly warmer, with male vocals standing out a bit more. The articulation between voices and instruments in this range is accurate, but the Cadenza can become congested when multiple instruments play simultaneously, as I noticed in the aforementioned "Back to Black."

Apart from that, string instruments sound natural but lack some clarity in their reproduction; they don't have as much character when playing their notes. This became evident in the electric guitars of "The Book of Souls" by Iron Maiden and the violins in "The Creatures of Prometheus, Op. 43: Overture. Adagio - Allegro molto e con brio" by Beethoven performed by Freiburger Barockorchester.

In the last mentioned song, the wind instruments blend well with the rest of the ensemble: the trumpets don't aggressively impact the ear and the flutes sound soft thanks to the warmth provided by the tuning Cadenza brings.

Lastly, while listening to live performances by Sinatra, I noticed that the tuning is somewhat dry. By this, I mean that during "Come Rain Or Come Shine" (Live at Carnegie Hall), the reverberations typically present in the theater are reduced in quantity/volume.


Treble

Cymbals and bells in various Tchaikovsky pieces ("Swan Lake" by the Boston Symphony Orchestra and "The Tempest" by the BBC Scottish Symphony Orchestra) pass my "stridency" test, but I can understand if others find them a bit bright.

The splashes in these frequencies remain in check across most genres. As a fan of Heavy Metal, I never felt the need to lower the volume when listening to bands like Megadeth, Arch Enemy, and Iron Maiden. With that being said, I don't find that the Cadenza lose much detail despite not having the most resolving treble, and they provide enough definition to maintain the musicality they are known for. That's why I loved using these IEMs for extended classical and Heavy Metal sessions as I could get lost in the music for hours, but when I focused, it wasn't difficult to hear small details in the music.


Soundstage & Imaging

"Libertango" by Astor Piazzolla was a track which helped me describe the soundstage and imaging provided by the Cadenza.

In this tango, the instruments have well-defined positions, and Kiwi Ears’ IEM had no trouble accurately placing them on the stage (bandoneon on the left, organ to the right, and drums in the center). With this placement, a decent distance was also created between the center and the sides, giving it a soundstage with proper width. However, the depth of it is rather short because the drum cymbals were heard at the same level as the bandoneon, which should be the main star of the show.


Kiwi Ears Cadenza vs 7HZ Salnotes Zero

I'm facing two of the most talked about and highly recommended IEMs under $50 USD (Zero $20 USD and Cadenza $35 USD).


Credits: Aftersound

• The quantity and extension of the subbass are similar, with good authority in both sets
• Cadenza has the impactful bass that the Zero lacks. It provides a visceral experience and allow for a pronounced "thump" when reproducing the bass drum in genres like Rock/Heavy Metal. This also plays a role making them more fun sounding and suitable for EDM.
• The transition to the mids is quite similar in both, although I give a slight smoother transition to the Zero. This frequency sounds organic in both IEMs, but the Zero is more resolving with a slight advantage.
• The treble is similar to my ears. I have read that some users find them slightly sibilant, but that's not the case for me, and both manage to avoid excessive brightness with a level of definition that I find appropriate for the price (and mainly because I consider these two IEMs more musical than analytical). There might be a small, but insignificant, difference at the upper end of the spectrum in my experience.
• Imaging accuracy is better on the Cadenza.
• Soundstage width is similar, but the Zero wins in terms of depth.
• The timbre of both sound signatures has a natural character, with the Cadenza being slightly warmer.

After my comparison, I can assure you that you get what you paid for. Both the Zero and the Cadenza deliver an astonishing performance for their price.


Conclusion



I had high expectations for this Kiwi Ears’ IEM, and they clearly did not disappoint. They offer a generous package with accessories of sufficient quality, IEMs with a solid and lightweight build, and the most beautiful design I've seen in IEMs at this price point. The sound quality is also remarkable, with warmth and musicality while still maintaining a good level of detail, allowing the Cadenza to easily adapt to various genres.

Kiwi Ears did not miss the mark with these IEMs in the sub $50 USD range. They are IEMs that anyone would be satisfied with.