It’s a bit hard for me to write this review, but I find it necessary — the 64 Audio U12t has been a major factor in my unexpectedly low level of enthusiasm in audio gear… but maybe not in the way you’d expect. Scroll down to Conclusion for a TL;DR.

It was a summer day in the streets of Los Angeles, where I found myself half lost looking for the entrance to CanJam Socal 2018. After buying and trying many IEMs over the prior two years, I had settled on the Campfire Andromeda as my personal portable audio paradise. Regardless, there were so many IEMs out there that I haven’t had the pleasure of trying. I was excited to change that on this day.

Two hours later, I was both a bit disappointed and relieved to find that every IEM I tried in the venue felt a bit underwhelming. With most of them, I caught myself thinking, “Meh, I prefer my Andromeda”. But of course, there were some standout exceptions that had me second guessing whether or not I was ready to settle — namely, the 64 Audio U12t. This IEM clearly stood out to me and managed to solidify its place in my mind, surpassing my beloved Andromeda in every single aspect I could imagine. And that was that.


Overview

2 years later, having gone through several different revisions and colorways of the Andromeda, I’ve finally reunited with what I feel is a long lost friend. The U12t retails for a hefty $1,999 USD direct from 64 Audio. As its name suggests, each housing sports a 12-driver setup featuring their proprietary tia drivers and standard detachable 2-pin 0.78mm interface.



The unboxing experience is professional and straight to the point; it’s not the most premium packaging I’ve ever seen, but very well organized and concise without seeming like an afterthought. You are greeted by a very well-designed protective carrying case, a variety of eartips, the U12t IEMs, and stock cable all neatly fitted into a dense foam cutout. Inside the carrying case you have access to alternative apex modules, a shirt clip, and a cleaning tool.



Build quality feels like it wouldn’t be an issue — the housings are machined to a smooth anodized aluminum finish; you can see slight inconsistencies in the texture but nothing visible from further than 6 inches. Coloring is consistent around the shell, with reasonably sharp L/R indicators on the inside face of the shell along with the unit’s serial number. They’re also a bit hefty and large, so those who have small ears or those who commonly find issues with IEM weight may be turned away from the U12t.

One thing to note is that the included cable feels a bit out of place for a $2000 product. It's a bit stiff and jumpy, doesn't look premium at all, and overall feels a bit awkward with its matte, 'papery' texture. That being said, those willing to drop this cash on an IEM probably wouldn't mind picking up a boutique premium cable either -- lots of good, affordable options out there nowadays!



Something I noticed is that the mesh filters are held in the nozzle by a strip of adhesive; I’m not sure what would cause this to deteriorate but I had an issue where the mesh was pushed inwards while using the included cleaning tool to remove some wax. I’d like to give 64 Audio’s support team a massive shoutout for helping me to resolve my case with nozzle filter, and making the warranty process absolutely seamless. You couldn’t imagine the look on my face when I realized that I had broken the nozzle of these expensive IEMs, so that was a massive sigh of relief.



The Apex modules have two notches cut into the sides to simplify removal. These can sometimes prove to be a bit tight, more commonly so in the carrying case than the IEMs themselves. I’d recommend taking it slow, as the edges of the module can work their way under your fingernails if you aren’t careful. They slide snugly into the module slots in the IEM with absolutely no room to spare, ensuring a secure fit without any rattling or play. The U12t comes stocked with a pair of M15 modules and a pair of M20 modules; the former in silver and the latter in a gunmetal shade.


Sound

In terms of sound, I’d consider the U12t to be an excellent all-rounder — it’s got exceptional bass response that reaches down effortlessly to the lowest of lows, ample-bodied midrange with solid note thickness / clarity, and a clear treble performance that feels both precise and full. Bass is built with an emphasis on subbass, lifted generously in the lower region without being weak in the midbass. Midrange is bumped up in the upper-midrange, but can occasionally sound a tad muffled in the very highest vocal registers with certain vocalists. Treble is full-bodied throughout with great presence, though it may lean towards what some may consider bright. Resolution is great throughout the spectrum, really demonstrating its technical prowess on any well-mixed track.



Bass

Bass, as mentioned, rumbles effortlessly at the lowest of my hearing range. To note, this bass presentation is super tight and textured; not a single beat is missed here. That being said, it doesn’t seem to have the visceral ‘eardrum pounding’ subbass that comes from some basshead dynamic driver earphones I’ve heard. However, don’t get me wrong — the U12t’s bass is no slouch, it’s tuned well above normal and slams hard when called for it. It’s hard for me to put into words, but the U12t’s bass feels very effortless. It’s as if the U12t can do what it’s expected to without a hint of sluggishness or err, hyper responsive and capable in its performance.

Midrange

Midrange tends to be a very touchy region for most people — some like their vocals to be crisp and sharp, while some prefer a thick and rich vocal tone. From what I’m hearing, the U12t sits just slightly closer towards the former, lending a very clean and distinct tone that puts out note resolution and detail with confidence. Lower midrange is never bloated or muddy (something that eventually made me give up on Andromeda), and center midrange comes off with a nice weight that I’d consider just a very slight touch short of perfect. Vocals, while mostly natural, may lack a bit of high upper-midrange flexibility; they can occasionally sound constricted or ‘limited’ in the sense that the vocalist’s full note isn’t given 100% room to resonate or interact with the room. It’s close, but just not completely there. However, for most listeners (including myself), it’s very easy to see past this and enjoy the overall sound of the headphone for its other very strong qualities.

Treble

At one point, I considered myself to be somewhat of a treble-head (quality, not quantity!). Mostly due to being a huge fan of the Andromeda, and taking a particular liking to the high-end sparkle of that tuning. That being said, the treble on the U12t is incredible — it’s taken me quite a few IEMs to find one that I flat out preferred over the Andromeda, but this is without a doubt the number one contender. The treble is super crisp and resolving, and has a wide sense of openness and staging that still feels natural. Lower treble is also well-bodied and has a good amount of crunch, avoiding the overly aggressive or harsh brightness that is present with many other attempts at reproducing that elusive “sparkle”. Not once does the U12t sound muted, dull, or lacking in treble extension. I’d say that the treble performance is one of the U12t’s greatest qualities, just as impressive as its bass region with its sheer effortlessness and precision.


A Bittersweet Conclusion

I know it may sound cliche at this point, but the U12t has decidedly become my ‘endgame’ portable audio choice. I no longer find myself scouring the classifieds and second-hand market for my next potential earphone, spending countless hours on the web browsing the latest audio trends. It’s a little bittersweet, but in hindsight it marks a very significant milestone in my audio journey; the U12t along with the HD800 has left me with a sense of satisfaction in my setup, relieving me of the once-rampant audio bug. I finally feel content with both my portable and desktop setup, finally shifting my priorities to focus on enjoying the music rather than the equipment.

QDC is a Chinese professional IEM manufacturer that has been rising to the forefront of the industry with their past few flagship releases, receiving praise from several respected and experienced listeners. Today I’ll be checking out their current flagship earphone, the Anole VX (or VX-S, for the universal version we have here). The loaner unit was graciously lent by Andrew from Musicteck, and will be returned shortly after. The Anole VX can be had for $2299 from Musicteck, an authorized dealer for QDC in the US.



The Anole VX comes in an oversized multi-layered package, providing the buyer with a very luxurious and over-the-top unboxing experience. A silver cardboard sleeve is cut strategically to reveal the QDC logo on the inner black box, complete with a leather pull-tab. This black box is secured shut by a magnetic fixture, swinging open down the middle (something to note is that it opens from the right, similar to books in China. It’s like the opposite of here in the US, where typically pages are flipped from left to right). Inside the box, you’ll find yourself the complete package:

• QDC Anole VX IEMs
• 8-core braid 3.5mm-2pin cable
• 6 sets of tips (S/M/L, wide/narrow bore, dual flanges)
• Leather hard case (blue)
• Cleaning tool / Switch tool
• Flight adapter
• 6.35mm (1/4″) adapter
• Documentation

All of this is packed very firmly, padded densely without any room for movement. The packaging makes it feel as if you are unboxing a very expensive earphone.


The VX-S comes with a unique acrylic shell design, molded into the ‘universal custom’ type shell that has been all the rage lately. The shell itself is saturated with silver leaf foil flakes, creating an almost natural granite texture. The faceplate is chock full of matching silver strands, crossing over one another in an intricate web-like design. On top of that, there’s a polished silver VX symbol, and the minimalist QDC logo at the bottom. I could see this design being a bit divisive to people, being a bit flashy and overly intricate — but to each his own.

The metal nozzle is lipped to help tips stay secure. A mesh grille helps protect larger debris from entering the bores of the earphone. The VX also connects via a 2-pin interface similar to the Ultimate Ears lineup, in which the connector protrudes from the earphone and is recessed on the cable. I can’t say I see the purpose of this particular system, but it is what it is.


The shell is on the slightly bigger side of things, but it fits comfortably in my smaller ears. Good ergonomics are responsible for that. The cable is also rather flexible, quiet, and comfortable to wear thanks to the quality material as well as angled 2-pin connectors.

There are three very small switches on the side of the housing that allows the listener to adjust the sound signature. They are mapped respectively to the low / mid / high frequencies, each toggling with a concrete click that can’t be mistaken. These switches are near impossible to flip with your fingers (they’re a bit recessed and too tiny), so the 2-in-1 cleaning tool’s alternate purpose is to flip the switches with ease.


When it comes to pure sound quality, I’d have to say that the QDC Anole VX is nothing short of extraordinary. It is hands down the most well-rounded in-ear monitor I’ve had the pleasure of listening to in terms of detail and tuning versatility. With all switches set to default (off), I’d consider the sound to be very balanced ‘musical’ tuning with a boost in the low frequencies and upper midrange for clarity, extending well into treble. A pretty common target for earphones nowadays, shooting for a more modest approach to tuning — however, the VX does this without any of the typical unrefined qualities, while doubling down with top-tier resolution.

Ultimately, I found myself liking the VX-S best with its default setting, having all three switches down. In my opinion, this config is not only the safest (least offensive), but also what I found best for long term listening. Don’t get me wrong — the switches have had their moments for me, and they make pretty audible differences that some may prefer to leave on.


No doubt sporting one of the better bass performances I’ve heard from a balanced-armature setup, the Anole VX has solid impact that doesn’t periodically have me wishing I were listening to a dynamic driver earphone. It remains controlled and tight. Subbass is extended well, and reaches as deep as I’d hope from a flagship earphone. Midbass is elevated several dB, but it’s isolated well and doesn’t muddle with any other frequencies, nor does it come off as boomy or overpowering (unless the bass switch is on; more on that later). In fact, bass might be a tad bit much in quantity for purists or those looking for a reference-tuned earphone. For those looking for a modestly boosted bass quantity with solid texturing and snappy decay, I’d keep the VX in mind.

Switch: With the bass switch flipped on, the midbass is considerably increased in quantity. It results in a blatantly boosted bass response, but also introduces noticeable boominess and bass bloat. It’s fun for a bit, but ultimately situational IMO — the beauty of it is that the VX provides you with options.


Though midbass is elevated, there’s absolutely no issue with it interfering with the midrange. Upper midrange takes precedent over the lower midrange, emphasizing a crisp yet near-perfect natural tonality. However, it straddles the borderline of between being naturally distinct or too clear — but never crossing into the field of artificial. It doesn’t sound artificial. Resolution is just through the roof here, vocal texturing is incredibly present and detail is fantastic. A few listeners may find that the upper midrange emphasis is too much for them, reminiscent of what I felt with the InEar Prophile-8. Lower midrange has a decent amount of body and doesn’t sound thin, with a just slightly dipped center midrange that gives vocals sufficient room to breathe.

Switch: Upper midrange becomes a tad more forward and verges closer to shoutiness. The difference feels pretty slight here, to the point where I don’t think flipping the switch brings enough additional clarity for me to trade it off with the aforementioned cons. It’s not the fault of the switch, but rather that the original midrange is already forward enough.

VX has what I’d consider a well-rounded and very resolving treble, with no audible peaks or disjointness that is typical in this region. Lower treble into the middle treble has a slight bit of emphasis, complimenting the overall sound with a good amount of energy. There’s also a good sense of air and extension from the upper treble region. Decay is on the quicker side as well, so cymbals and hats can seem to disappear atypically fast — if anything, it does what it should by playing what’s in the recording with minimal colouring.

Switch: Though I appreciate the treble with its switch off for its resolution and decency, this switch really gives a different feel to the high frequencies. It highlights sparkle, giving a pleasant, shimmery treble that manages to edge even closer towards the boundary of being too much, but not breaking that limit (for me). Increased sparkle, air, extension, though also more fatiguing for long listening.


So… what do I think? I’d like to compare the VX to other flagships I’ve heard, but I find it unreliable to draw detailed comparisons from distant memory. I’ve bought and sold a few, but can’t really afford to keep them around for direct comparison. For that reason, I’ll put it up against my current daily driver. Since many people have the Andromeda / S, it will paint a good picture of how good this thing is.

The Andromeda is a pretty respected IEM with a strong track record. Though I’ve tried quite a few earphones over the years, I’ve kept this one. Unfortunately, I feel it needs to be said. The QDC Anole VX is just without a doubt better in nearly allaspects of sound than the Andromeda S. Don’t get me wrong: I still really like the Andromeda. But I can’t think of a single field in which the Andromeda can get a foot over the VX (and of course, I am devastated … ignorance is bliss).

Of the mainstream 2018 flagship earphones I’ve tried, I’ve only genuinely considered upgrading my Andromeda to the 64Audio U12t. Here I sit listening now, ready to sell my Andromeda S off for good (wait… I actually just did). The Anole VX, in a way, has ruined the Andromeda for me (and possibly in the near future, I see the VX entering my life again).


It feels as if the engineers at QDC knew my limits, and emphasized things at the right places just short of being ‘too much’. It’s balanced so well and attentively that it almost feels like a custom-tuned earphone that fits my preferences perfectly.

Though The Anole VX is certainly quite an expensive product, it all depends where your values and priorities lie. If you’ve got the dough, and want the quality, the VX provides in fantastic top-tier resolution and a versatile, musical tuning without being overly coloured or artificial. Without a doubt, the Anole VX earns its title as a worthy flagship earphone.

I wrote a review on the final audio E4000 earlier — it’s a good earphone and a great value at that, offering a fairly balanced and natural slight v-shaped tone for a very reasonable price; downsides being its somewhat loose bass response and poor isolation. Let’s see what the next step up, the E5000, brings to the table.


The E5000 is the final E4000’s ‘older’ brother. It has a completely different, more luxurious shell finishing, machined from mirror-polished stainless steel rather than its anodized black aluminum counterpart. In addition, it comes with a more premium, high-purity OFC silver-plated cable flaunting matching stainless steel hardware. Coming in at nearly double the E4000’s MSRP, it may have a fairly high bar to clear.

To cut things short: the E5000 is a step up from the E4000 in quite a few ways, but doesn’t do much to discredit the latter’s excellent price to performance ratio. I’d like to thank final audio for being kind enough to provide me with the E5000 for review — of course, this does not affect my opinion of the earphone. I will do my best to describe the E5000’s strengths, as well as its shortcomings.

The E5000 is currently available for $279.99 via Amazon.com with 2-day Prime shipping. For more technical details on this model and a source to purchase, check out the following links:




The packaging is the exact same as the final E4000 — it comes in a fairly unimpressive slide-out box printed with technical specifications and photos. Organization is fairly simple, the earphones are packed neatly into the silicone case with a cool final branded carabiner (intended to attach to the case). All polished metal hardware (earphones, 3.5mm jack) comes in its own plastic wrapping, a sign that considerable care has been put into shipping these off. A bag of final E-tips is nestled just below that. Nothing too crazy to speak about here, but packaging is not of utmost importance anyway (and shouldn’t really be).

In the box, you get:

• final E5000 IEMs
• high-purity OFC silver-plated MMCX cable
• silicone carrying case
• carabiner
• tips (XS / S / M / L)
• soft ear guides

If you haven’t read my E4000 review, I would like to note again that this is a pretty unique carrying case. It offers pretty solid protection from drops, though I’m not sure how stable it would be if I were to run over it with a car (I actually feel the IEMs would come out unharmed, but don’t plan on trying it). It’s a cute design that doesn’t offer much space / room to breathe, but does what it does well and strays from the typical generic zipper case.



In terms of build and design, the E5000 is pretty minimalist, taking a narrow straight barrel-shaped form factor with detachable MMCX cables. The body itself is forged from stainless steel, polished meticulously to a mirror-finish and branded with the final name and model number. On the rear end of the cylinder, the elegant final ‘honeycomb’ logo can be seen in a matte print contrasting the reflective stainless steel. Quite a clean design, once again meeting the final audio design standard.



The barrel housings are very comfortable, I have no qualms or issues with discomfort or pain from long listening sessions. However, I must add that it does not feel the most secure in the ear especially for those who like to wear the IEM with the cable facing downwards. For that reason, I almost always find myself wearing the E5000 with the cable upwards wrapped around the ear. The included ear guides are pretty great for this, and they are comfortable as well.



The cable is different from the E4000’s stock. In terms of aesthetics, it is mostly an improvement — the E4000’s no-frills black stock cable may be a bit of an eyesore for some of the fancier audiophiles out there, so the E5000 comes paired with a beautiful 4-core, 2-layer, twist-braided silver plated copper cable. The MMCX connectors, y-splitter, and 3.5mm jack are also upgraded to matching mirror-polished stainless steel hardware that aims to impress with a premium feel.



From an ergonomic standpoint, I would actually say the E5000 cable is a downgrade. It’s stiffer than its simpler black counterpart, resulting in retention of minor kinks and curves that take a few minutes to straighten / soften out (but come back after wrapping the earphones into the case). Additionally, the sheathing is on the harder side of things — this cable is more microphonic than the predecessors, leading to a slightly noisier commuting experience that is mostly nullified by over-ear wear. Once again, the included ear-guides prove to be pretty useful.

To me, the E5000 can be classified as a warm-natural and very gently v-shaped earphone tilted towards the lower frequencies. Subbass is generously boosted and midbass follows just behind. Upper midrange is bumped up a bit to maintain a good sense of clarity without coming off as grating or overly forward. Lower midrange is fairly balanced in between the two, slightly lifted to give vocals a warm and natural timbre. Relative to its neighboring frequencies, center midrange does not feel to be recessed but just slightly behind in the mix, with ample note weight. Mid and upper treble are tuned below neutral, though I would not exactly consider the E5000 to be an overly dark earphone (dark, i.e. Oriveti Basic).

Soundstage is fairly wider than average, providing a large space for instruments and vocals to settle on. Imaging is not pinpoint accurate or holographic along the likes of Andromeda, though left / right stereo imaging are nice in their own rite. Forward and backward axes feel a little more compressed and mixed. Then again, I feel like soundstage would vary a lot on canal shape and insertion depth, so take this impression with a grain of salt!

The first thing that comes to mind when listening to the E5000 is how low the bass extends. In other words, the IEM has praiseworthy subbass extension and rumble. Midbass follows suit, providing commendable impact to kick drums and bass guitars. Decay feels to be just slightly slower than expected but holds a well controlled sense of ‘tightness’. Texturing is also smoother than something like the Acoustune HS1551, giving the E5000 a more liquid, fluid bass presentation. Overall bass is not overwhelming in quantity, but separation of low-end notes is clean and subbass notes that would typically be overshadowed cut through the mix surprisingly well.

Though the E5000 has an impressive bass response, there is little to no midrange bass bleeding. Lower midrange is full and gives vocals a warm natural timbre without sounding especially bloated, though it dances just below the border of feeling so. Center midrange is just a bit laid-back relative to the lower and upper midrange, giving vocals a bit of spacing / distance without sounding too recessed in note weight. Upper midrange rises gently as well, providing clarity to vocals. As you may have noticed from my choice of words, the E5000’s midrange is very safe and balanced — it doesn’t boost or restrain any particular region heavily, avoiding any offensive shoutiness or recession.

The E5000’s treble peaks in the lower treble, where the following mid and upper high frequencies take a back seat rolling off gently. The lower treble peak is not much, but can come off as a tad aggressive to sensitive listeners (felt this way on certain tracks, but it seemed perfectly tame on others). Resolution is good, but ultimately nothing too mindblowing. Treble is the least extravagant region of the E5000’s tuning, apart from the lower treble peak there’s not much to take note of or critique. Though the upper treble frequencies are subdued in quantity, the E5000 does not come off as dark or closed-in. It actually still sounds pretty open and spacious, though I might actually attribute that to the somewhat open vented design of the the earphone.

COMPARISON TO FINAL E4000​

As expected, the two must be compared. The E4000 is considered by many to be a fantastic value, while the more expensive E5000 is less well-known. I’m actually surprised by the differences I’m hearing, as I was expecting more minor improvements / tonal shifts.

In comparison, the E4000’s bass is actually noticeably looser and more feathery in impact. The E5000’s subbass extension and rumble trumps the E4000 without a doubt, and even doubles down with more impressive and tighter impact. Though the E4000’s bass is fine on its own, when listened to side-by-side it doesn’t really seem like a fair comparison.

Lower midrange body is about the same, both have the velvety warm vocal timbre that sounds pleasing to the ear. However, the E4000 has a more forward upper midrange, leading to an increased sense of perceived clarity. However, the side effect of this is that the E4000’s center midrange sounds more recessed, so the note weight doesn’t feel as natural and full as the E5000 whose upper midrange is more tame in comparison. The E5000’s upper midrange sounds to be more refined, contrasting the E4000’s more immediate sense of clarity.

Treble is about the same, honestly. They both don’t do too much impress in the treble region, resolution doesn’t really fall in either earphone’s favor. However, due to the less emphasized upper midrange / low treble frequency, the E5000’s extension is more apparent while the E4000’s rolloff feels more sudden.

A question that gets asked a lot is, “Is the E5000 worth the upgrade?” The improvement in the bass department is substantial — there’s no question there (this alone can warrant the upgrade). Midrange changes are more debatable and probably ultimately up to preference, but if you feel you’d like a bit less grain and more natural note weight (if you feel the E4000’s midrange can come off as thin at times), the E5000 gets a green light. If you’re looking for more treble from the E4000, look elsewhere because the E5000 does nothing to directly improve upon it.

CONCLUSION
​

The E5000 is a solid warm-natural earphone, placing controlled emphasis on the subbass regions and upper midrange for a comfortable listening experience without being fatiguing. This leads to an engaging sound signature with defined and punchy bass notes, following a natural sounding midrange. Final’s reputation for elegant design comes across clearly with the E5000 as well, with the slim barrel-shaped housing that is sure to fit almost any user without issue. To my surprise, the E5000 actually manages to improve slightly on technicalities over the E4000, namely bass control and upper midrange refinement; however there will still be users who mesh better with the E4000’s more forward and clarity-focused tonality.

Recently, FiiO has been consistent in releasing publicly well-received earphones such as the FH5 and FA7, with the intention of providing great sound at a great value. The FA1 is a new single balanced-armature IEM offering from FiiO, retailing at an even more affordable $99 MSRP.

The FiiO FA1 sample was provided by FiiO. I’d like to give thanks to Lily and FiiO for supplying the unit for review, as well as the opportunity to share my impressions on the FA1. It is available in two color variants (red/blue and smoke), the latter being shown in this review.

For more information and technical specifications on the FiiO FA1, or if you’d like to pick up a set for yourself, check out the following links.


The FA1 is currently selling at a very reasonable $99 MSRP with 2-day Prime shipping available directly from FiiO. Certainly a competitive price range with prospective buyers from many groups — let’s see if the FA1 stacks up as something wallet-worthy.


I try not to spend too much time on aspects that don’t directly tie to the product, but the packaging on the FA1 is excellent. Magnetized box, smooth matte cardboard, clean layout. Feels very high quality for a $99 earphone — the unboxing experience really builds up excitement to getting your hands on the actual product.

Inside the package, you get:

• FiiO FA1 IEMs
• black 4-core twist-braid MMCX cable
• FiiO HB1 hard case
• 3 pairs of translucent narrow-bore tips
• 3 pairs of red / gray medium-bore tips
• cleaning tool

Included is the FiiO HB1 hard case with a clear cover. The various angles refract light in an interesting way, sometimes casting rainbow patterns outwards. It’s a nicely-sized case with secure snap closure; however, the hinges have little resistance resulting in a rattly ‘cheap’ feeling when open.


In terms of build quality and design, I’m very impressed. The smoke variant of the FA1 comes with a wave-embossed faceplate layered over with a smooth acrylic surface. It catches light beautifully, showcasing intricately-cut ridges and crests with a metallic sheen. Since it’s layered over with the smoke resin, it also has a neat effect where the resin layer obscures the wave-surface beneath at certain angles.


The FA1’s shells are exceptionally finished, there’s not a single smudge, bubble, or imperfection I can find in the housing. To my surprise, the shells are also completely solid, filled throughout (as opposed to hollow, like many handbuilt C/IEMs) resulting in a slightly smokey, mostly transparent housing that looks and feels premium. I’ve paid upwards of $1000 for custom-built IEMs that don’t come close to the level of consistency in the FA1’s resin shell. If anything’s to nitpick, there are vertical lines that can be seen in the IEM (byproduct of the 3D printing process), but since they’re all uniform it just looks like a design cue.

Comfort is also on the better side of things, as the shell is a ‘universal-custom’ fit. Though my ears are on the smaller side of things, I didn’t notice much pressure or any hot spots on my ears after my longer listening sessions. I would imagine that the fit is even more comfortable for those with average to larger ears. I felt isolation was also fairly good, the ergonomic shell design allowed for a more secure insertion depth. I used these IEMs on the go during my daily walks, as well as in a fairly loud gym environment and had no issue.

MMCX connectors feel pretty solid in terms of connection. Out of the box, the FA1’s exhibit absolutely no play or instability on the MMCX connectors. To clarify, the cable can be rotated to provide a more comfortable fit with the pre-formed earguides, but it doesn’t rotate on its own — very stable, but not too rigid.


The stock cable is a black 4-core twist-braid terminated in a right-angle 3.5mm SE and MMCX connectors. The hardware seems to be of high quality: the right-angle 3.5mm jack and y-splitter both have ample strain relief. The y-splitter and chin-slider both seem to be made of aluminum, sporting the FiiO branding on a gunmetal tinted surface. In terms of ergonomics, the stock cable is very soft and flexible.


However, the preformed earguides are a bit hard / stiff and just slightly longer than ideal — IMO, the cable would be much better overall without these earguides. I do notice some inconsistencies in the twist-braiding of the cable, but nothing too jarring or noticeable. There is also a silicone cable tie attached to the cable that is good for organization, but kind of gets in the way in day-to-day use — this cable tie is also not removable unless you take at it with a knife or scissors.

I would describe the overall tonality of the FiiO FA1 as a somewhat neutral balanced tuning, with a bias towards the upper midrange frequencies. Bass is generally uncoloured in quantity, sacrificing rumble / raw power for very quick BA-like speed. Vocals are forward with enhanced clarity and presence, supported comfortably by a detailed treble response. In summation, it has a leaner sound profile overall with solid detail retrieval, resolution, and focus, but can come off as lacking in emotion / musicality on bass-focused genres.

The FA1’s bass leans more towards a neutral, more agile presentation. Deep subbass extension is fair, but it doesn’t have much substantial rumble or authority behind it. Midbass sits at what I’d consider a slightly-above neutral quantity, while subbass sits just behind that. In terms of speed, the FA1 is most certainly BA-like — it’s very quick, but limp. Impact doesn’t compare to a dynamic driver; decay is very fast, what some may consider a bit unnatural. It has adequate punch for the majority of genres I’ve thrown at it, but doesn’t have the rumble to compete with other earphones for electronic music. The FA1 is not an IEM I would recommend for bassheads, or those who listen to music with heavy reliance on low frequency riffs and melodies.

The FA1’s midrange is without a doubt the highlight of the overall tuning. There’s an emphasis on the upper midrange, providing good vocal clarity and articulation. The lower midrange doesn’t feel to be overly thin, rather just making the mark for appropriate thickness. As a result, the result is a clarity-enhanced midrange balance with ample note weight, but an occasional hint of artificiality (a bit of grain) on the top octave (presence?). Resolution is rather nice, vocals have good texturing and the overall tone seems fairly accurate.

Treble also seems to be one of the strong points of the FA1, sitting at a neutral quantity that doesn’t come off as overly bright. It sounds pretty controlled overall, without any major peaks or dips in the treble response. Extension is pretty average — it doesn’t give off the perception of having enhanced air or sparkle, nor does it sound closed off or constrained. I’d say that the FA1’s treble response does not have any particular aspects I feel the need to criticize, it seems very safely tuned and apt in resolution.

The FA1 is no slouch when it comes to soundstage and imaging, but it also doesn’t seem to try hard to impress with three-dimensional imaging or holographic staging. Soundstage sounds to be about average if not slightly better in width and depth. However, stereo imaging seems pretty spot on in the manner of an in-ear monitor. It has good directional cues and lacks any of the vagueness that I’ve noticed with some other IEMs (i.e. Pinnacle P1), though I would not go as far as to say it has the three-dimensional sense of space that something like a Campfire Andromeda may have. A good descriptor for the FA1’s imaging and soundstage capabilities is ‘natural’. It isn’t so big it’s overblown, but also not constrained enough to feel suffocating.


The FiiO FA1 is a single balanced-armature IEM, and it definitely has some single-BA characteristics to its sound. It puts an emphasis on providing a clear listening experience with great resolution, highlighting vocals with enhanced clarity regions and safe yet supportive treble; however low frequency notes feel very quick and a bit light in impact as a tradeoff. At the affordable $99 price point FiiO is offering the FA1, I have little to genuinely complain about. From a sonic standpoint, I really like the approach that FiiO has taken on this earphone — the FA1 allows consumers another viable opportunity to dip their toes into a slightly different flavour of earphones. In addition to tackling the small market of entry-level balanced-armature IEMs, FiiO tops it off with prime build quality, aesthetics, and accessories.

The FIBAE Black is a single-balanced armature in-ear monitor from Custom Art, available in both custom and universal form factors and retailing for 450 EUR. In terms of customization, the shell is only available in black (as the name precedes), but the faceplates can be customized.

I'd like to give big thanks Piotr and Kamil from Custom Art for sending out a sample of the FIBAE Black for me to test and review. I'll be attempting to cover the quality and sound of the FIBAE Black with as little bias as possible. Almost all of my listening is done through the Sony NW-ZX300a, playing FLAC, WAV, and 320kbps MP3. Occasionally, I have also tested the Black through the LG V20 and OnePlus 6T USB-C dongle streaming Spotify Premium.
You can find more information, pricing, and details of the FIBAE Black at Custom Art's site, available through the following link:
I've had these for a little bit under a week, but had to have already put something around 40 hours of listening on them. That's already saying a little something, isn't it?

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Custom Art's universal shell fit is excellent. I was seriously happy with the way the FIBAE 3 fit, and am once again impressed with the Black. The two shells are similar, but it appears the Black is actually slightly larger. However, the FIBAE Black still remains on the smaller side of things. It lays completely secure and flush with my ears (with the right tips, of course), and doesn't protrude at all -- like a custom would. I also don't have any issues with discomfort over long periods of time.

I’ve currently got the Lotoo Paw Gold Touch on loan from Musicteck.com, and have been giving it a bit of use in the past few weeks. Big thanks to Andrew for giving me the opportunity to give the ‘legendary’ TOTL DAP a go. I’ll be returning it shortly after. You can view more information and pick up your own at the following link:


Full disclaimer: I’ve stated it before, and I’ll state it again. At the heart of my love for audio quality, I still ultimately consider myself a consumer above all things. Admittedly, I’m not the most experienced when it comes to pinpointing the direct changes when it comes to source changes. However, new experiences are always welcome and I’ll do my best to transcribe my impressions on the LPGT into words.

The LPGT comes in a golden logo-embellished cardboard box, with a significantly thicker black box underneath. I don’t really focus much on packaging anymore, but I can say is that the LPGT is well-presented and very organized in its delivery.

Following suit, I won’t be going too much into detail about the small things. I wouldn't consider this exactly a review, due to my lack of knowledge in DAPs and source gear. These are my impressions of the LPGT.

The player itself is quite the brick. It’s definitely on the heavier side of things, and certainly far heftier than your typical smartphone. Regardless, it feels comfortable to hold and operate with one hand (apart from the weight).

The design is clearly well-thought out — after using it for three weeks, I had hardly noticed the smart design cues that made it so convenient and graceful to use (that is good design, hardly drawing attention to it!). Only now, sitting and holding the player in my hands, do I acknowledge things such as:

• Rivets on both the left & right sides of the player, allowing the base of my palm and fingers to have a more secure grip on the player (I typically hold the player with my left hand, but it’s designed to work fine with the right hand as well).
• Power & playback control buttons are placed accordingly, so that when the player is held in my operating hand (left), my fingers rest directly on the hardware buttons for easy operation.
• Volume wheel is placed so that while my middle finger can operate the hardware buttons, my index finger can easily change the volume .
• Chamfered & rounded corners, so that holding the player in my hand is comfortable and doesn’t dig into base of palm (some players have recently had the trend of obscenely sharp and crisp corners, like Fiio M7 — looks cool I guess, but it hurts). This angled rounding not only looks good but feels good.
• SD card cover pivots when opened, allowing you to insert / remove the card without bending and putting stress on any plastic.

As mentioned above, playback control hardware buttons are available on the right-hand side of the player. There is a small nub on the pause button for easy indication and finger placement without vision. Volume is controlled by the infamous golden dial on the top, each click indicating an increment of volume. It works well, and adds its one-of-a-kind twist to the design that gives the player its identity.

The ‘breathing’ light under the volume knob is really handsome, indicating whether or not a track is currently playing. You can adjust whether or not this light activates in the settings.

The included leather case is simply fantastic. It fits exceptionally well (really, like a glove — a really tight, custom-fit glove…), there’s quite literally no chance of the player coming loose from the case. In fact, on first installation, I was kind of panicking because I couldn’t get it off. It looks beautiful as well. The leather is soft and luxurious to the touch. The brown stitching on the back perimeter gives it a nice contrast, surrounding the stylish “Paw Gold Touch” typography. However, there are some slight inconsistencies to the edges around the screen. I’m not a leather professional though, and I’m not really sure what this indicates.

I’m sure if Lotoo didn’t include it with the player, this case alone would sell for a pretty penny. However, something to note is that the leather case covers the SD card cover (so you’d have to take the case off if you want to remove the card).


I tend to be pretty picky about user interfaces. The LTOS UI is actually something I really had no major qualms using. There are no annoying quirks that bothered me, which is impressive as I can’t say the same for many other DAP UI’s I’ve used. It’s very smooth and streamlined to use — though the user manual is written completely in Chinese (couldn’t find an English version either), I didn’t have any issue whatsoever operating the DAP for basic music listening*. There were no issues with lag, skipping, or weird playback order (ahem, Fiio’s M7). No actual complaints about the OS itself.

*However, it would be invaluable for Lotoo to include an English version of the user manual anywhere. It took me quite a bit of playing around to figure out how to enable things such as custom EQs, upsampling, and more. Once I figured it out, it was like “Well, that’s actually pretty convenient”.

The option for Bluetooth DAC function took me by surprise, as I expected the typical buyer for a device of this caliber would not be interested in mucking about wireless connections. It works as expected, similarly to the Shanling M0’s BT receiver function. Pairing is simple and straightforward. Funny thing here, the sound of streaming Spotify through the LPGT’s BT DAC is far more pleasant than listening through a wired USB-C to 3.5mm connection.


On a flight, I had a pretty good time listening to the LPGT paired with the Campfire Audio Andromeda S. In one sentence, I can describe the experience: it became really easy to get lost in the music. Onto the basic output, the matchup without a buffer in between is a bit too thick for my liking — I used an ifi IEMatch (got this for free from a friend) to tweak the sound a bit. The resulting sound is a beautifully balanced tuning.

First off, my general description of the Andromeda S pairing.

With the slightly increased OI from the IEMatch, the Andromeda S has a quick, snappy, agile bass presentation. It reaches down well into the subbass, especially for a balanced armature setup. Unfortunately in terms of bass, it doesn’t come close to what a decent dynamic driver can do — it loses authority down into the subbass and doesn’t have the texture that a DD does. Midrange is tonally correct with a pleasing warmth behind vocal notes. Upper midrange texture with the Andromeda S is noticeably better here than with the original Andromeda. Where details on a lower OI would feel a bit more muffled to me on the original Andromeda, it sounds just perfectly detailed on the Andromeda S. Treble is the most beautiful aspect of the Andromeda in my opinion. So delicate yet robust, it has a flamboyant sparkle that really wowed me the first time I heard it. Admittedly it’s slightly nicer on the original Andromeda, but the S is no slouch. The overall sound is just a harmonious cooperation between the frequencies.

Off the bat, I find the Lotoo Paw Gold Touch does not have an immediately coloured sound. If anything, the tone feels to be mostly neutral other than a slight lift in subbass. Now, what exactly does the LPGT do that my V20 and Shanling M0 do not? Let me first say that it is not a night and day difference (or I’m just not sensitive enough to perceive it that way); upgrading to the LPGT from your phone will not be nearly as drastic as upgrading the transducer. I tried various IEMs, but only my Andromeda felt like it was not bottlenecking the DAP’s hardware. The improvement was a bit hard to pin down at first, but if I were to put down whatever has been flowing through my brain as I listened to the LPGT:

(Paired with Campfire Audio Andromeda S), XRC upsampling ON…

• I’ll have to admit that there is actually a low amount of noticeable noise through the SE. However, I find this greatly improved on the balanced output.
• The LPGT renders detail seamlessly, every crackle, movement, and microdetail in a vocalist’s note sounds so real and there. Whereas with the LG V20 and M0 to an extent, I had hardly noticed these tiny details were on the recording.
• Continuing off of the previous point, the amount of detailing on the LPGT feels in a way effortless. It doesn’t have an artificial brightness or steeliness that simulates enhanced detail — the resolution is just there, unobtrusive, and it feels as if I don’t have to even try to hear it. During some activities where I would normally have music playing in the background, I’d actually find myself listening to the details of the track and spacing out!
• As I stated, the LPGT does not have an artificial brightness in the treble. The treble feels very natural and even, transparent without any alteration or colouration. I can’t 100% say the same for my other source gear.
• Spacial cues… Layering is impressive. Instruments sound less tempted to meld together in complex passages, they maintain their composure well without any issue. Soundstage does not feel enhanced or constrained, it just feels appropriately average in all directions.
• While listening with the balanced output, I feel that microdynamics are simply excellent. Everything sounds so snappy, as if every note is a fleeting image in itself. Attack feels quicker, faster… and holds my attention until the note disappears, in which it does so gracefully and fades to nothingness without a trace (very clean background, as if it eliminates any trailing sounds or noise that shouldn’t actually be there).

This is without a doubt a device made for music.

I’ll be sending the LPGT back very soon. There have been times where I was afraid to bring it out and use it, since it’s a very expensive device (and a loaner). However, the times I spent with it were just incredibly pleasant listening experiences. I’ll definitely miss this player in all its glory! In summation, the LPGT is truly a exceptional sounding player with attractive design and convenient software -- whether or not it's worth the splendid price tag is up for personal debate. Thanks again to Andrew at Musicteck for letting me give the Lotoo Paw Gold Touch a try.

The FLC8n is a three-driver hybrid design (single dynamic, dual BA) IEM from FLC Technologies. It is the latest update to the previous generation of the design, the FLC8s. The FLC8s was a name that would pop up fairly often in my days of browsing r/headphones, commonly recommended for being a strong purchase in the $300 range. Let’s see if the updated 8n can live up to the legacy that FLC has built for themselves.

I’d like to thank Andrew from Musicteck for setting me up with the FLC8n for review. I will be assessing the overall quality of the product with as little bias as possible.

The FLC8n can be picked up from Musicteck from the following link:

The FLC8n comes packaged with a plethora of accessories. I am fairly impressed here. In the box, you can find a ‘tweezer’ to help fiddle with the filter system, the IEMs & cable, filters (and spare filters in case you lose some, I suppose), a solid selection of tips, clips, and other doodads.

A quick comment on the included tips (not shown in photo below: those are third-party tips) — they feel like they are of pretty decent to high quality, but have a more cylindrical shape to them as opposed to the conventional ‘dome’ shaped silicone tips.

The 8n also comes in a hefty milled aluminum case, that has a screw-on lid. Neat to have, and would absolutely protect your IEMs from the elements — but probably not the most practical for carrying around. It’s quite heavy, and a bit bulky (but no larger than a Pelican 1010, so your call).


The original FLC8s had an ungodly springy and stiff cable, which stuck out like a sore thumb in daily use. Thankfully, the FLC8n seems to attempt to address the poor quality of the previous generation’s cable. The cable’s outer material looks more or less the same, sporting a dark teal sheathing with a very slight rubbery coating. It has the slightest bit of ‘stick’ to clothing and such, but not enough for me to consider it a big deal. The splitter and connectors are cased in a semi-hard, translucent blue plastic. Most importantly, the core of the cable feels to be far less stiff than the previous cable, it’s actually fairly flexible and soft.

Unfortunately it still has a noticeable springiness, as coiling it up will simply result in it ‘jumping’ back open.


The 8n seems to be put together well. There aren’t any obvious shortcomings to its build quality, with its CNC’d aluminum construction and detachable cable. The housing’s design is also different from the previous 8s, it seems to be more ergonomically shaped — though the old 8s didn’t give me any issues with comfort, I could see many preferring the more conventional design of the new 8n. Weight is nothing out of the ordinary as well; it isn’t light enough to feel cheap nor too heavy to be comfortable.


The nozzle is longer than the typical IEM, allowing for a fairly deep insertion with smaller tips. The aluminum craftsmanship is good, though the housing has very evident seams that aren’t 100% aligned with each other. The FLC logo is embossed just below the MMCX port on each IEM. The three sound adjustment options are located in the nozzle, and two filtered vents on the medial / lateral sides of the housing. There are three small vents spaced in a triangular organization on the medial side of each IEM.


The FLC8n, as many are aware, have a configurable sound tuning system that was first introduced with the FLC8s. While most filter-based tuning systems seem to have simple adjustments in the upper frequency regions using different nozzles, the 8n takes it two steps further by allowing customization in the bass and subbass frequencies as well.


There are three categories to make adjustments to: ultra-low frequency, low frequency, and mid-high frequency filters. The various plugs / nozzles are conveniently self-contained a blue metal pill keychain (which I assume is waterproof).

Unfortunately, even with the included tweezers for changing filters, the bass frequency plugs are kind of a sore to fiddle with — this system carries over directly from the 8s, with minimal changes. They’re very tiny and a bit of a chore to remove from the IEM. However, once you find your preferred sound I imagine you wouldn’t be changing the filters much. I also noticed that the threading on the interchangeable nozzles on the 8n are of much higher quality than other IEMs I’ve tried with this system (screwing them on/off is a much smoother, quieter experience than the BGVP DMG and LZ A4).

SOUND​

After testing the various filters, I found that my preferences aligned best with the default configuration of filters:

• Red (highest subbass)
• Gray (medium bass)
• Gold (most mids, least treble)

This setup allows the FLC8n to have a gentle lift in the subbass region, sloping gently downward into the lower midrange. Vocals are given extra clarity and presence with a lift in the upper midrange, where the 8n then peaks in the lower treble and sits tamely afterwards.

I found the other filters to make easily noticeable changes to the sound — these are not smaller, debatable changes like cables and sources. In other words, this IEM can be configured to the point where someone who enjoys one sound configuration, can easily dislike another configuration.

BASS FILTERS
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TRANSLUCENT: light bass, still a bit punchy. Works nicely with acoustic / orchestral tracks (but is it worth the trouble switching the tiny filters for specific tracks?).
GREY: slightly north of neutral, not overpowering. IMO the optimal amount for my preference.
BLACK: very heavy midbass, a bit boomy, and noticeable lower midrange bleeding. The basshead filter of choice.

SUBBASS FILTERS:
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TRANSPARENT: severe subbass roll off. Probably wouldn’t ever use this.
GUNMETAL: sounds about right in terms of quantity, rumble is there but not very ear-tickling. This sounds the most natural to me — I like this one, but I stick to the red subbass plug to keep things interesting.
RED: Lift in the subbass, very rumbly and authoritative. Can sometimes get fatiguing, which is where the gunmetal comes into play. I like this one, but I call it a draw with gunmetal.
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MID/TREBLE FILTERS:​

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GOLD: upper midrange is boosted generously but not overdone, treble has good energy and decent extension.
BLUE: midrange sounds sucked out, treble is unnaturally dark and scooped out.
GREEN: more sparkle to the treble, more energetic. Lower treble seems to have extra shimmer. Possibly fatiguing to some.
GUNMETAL: upper midrange is less bumped, warmer, a little more veiled than gold. Treble seems more / less similar.

BASS
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With my preferred configuration, the FLC8n has a bass presentation that leans towards a deep subbass rumble with a more tame midbass kick. Not many IEMs lean towards this bass balance, so the FLC8n’s versatility in fine-tuning the sound proves to come in handy here. As a result, the FLC8n provides a meaty, thick low end, avoiding any noticeable congestion or confusion between the midbass and lower midrange frequencies. The subbass extends down as low as I’d like with the dynamic driver. The midbass is controlled, yet punchy enough to bring authority to the low end. The implementation of the DD in the hybrid config seems to be well done, as I can’t find any distinct signs of incoherence in the tuning. However, the bass of the FLC8n could benefit more from some improvements in technicalities, particularly texturing and microdynamics.

MIDS
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I’ve chosen the gold filter configuration as my preferred setup, emphasizing the midrange with a neutral treble tuning. Thankfully (and surprisingly), the FLC8n does not have the instantly noticeable midrange glariness and nasal timbre of the FLC8s. The FLC8n’s midrange is well-isolated from its neighboring bass frequencies, I can’t detect any obtrusive midbass bleed — if present, it is minimal at most. Lower midrange has ample body and weight, straying away from my expectation of ‘lean’ v-shaped vocals — I’m very happy with the note weight and balance of vocals, which is for the most part natural (for the most part… see below). Upper midrange also has a solid sense of clarity and articulation, however once again the 8n’s upper midrange texturing / resolution falls just short of being best-in-class. While the 8n’s vocals do not have the immediate sense of ‘weirdness’ that the 8s gave me, I feel the 8n’s midrange can still occasionally have an artificial sharpness in the top octave of vocals (though to a much, much, MUCH lesser extent than the 8s — perhaps to the point where the typical listener would not even care).

TREBLE
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The FLC8n’s treble performance through my preferred configuration (gold nozzle) doesn’t really have any exciting or special properties, but also doesn’t have any major downfalls. There’s a good sense of detail and certainly enough emphasis to inject energy into all genres of music; it sounds fine on almost everything I’ve played through it. In terms of absolute quantity, this setup may cause issues for those highly sensitive to treble, but just barely so. For me personally, there are no overly harsh peaks or sudden dips / voids in the treble. The biggest ‘flaw’ in the (lower) treble likely goes hand-in-hand with the upper midrange’s artificial sharpness, but even that requires some serious focus and concentration to pick out. Apart from that small quirk, the treble with the gold filter demonstrates good high frequency control with once again, ‘decent’ extension. It doesn’t have incredible sparkle or air, but its performance is certainly praiseworthy due to its lack of major flaws.

MISC: STAGING
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I generally don’t make any straightforward remarks on soundstage, but the FLC8n seems to be a bit of an oddball here. Soundstage is noticeably large in a vertical sense, and not overly claustrophobic in any direction. Through a bit of listening, I noticed the FLC8n’s vocals can sound sort of as if they are being replicated in a spacious hall, with hazy directional cues. Kind of like an out-of-phase, in-your-head, yet spread-out type of imaging.

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The FLC8n has commendable bouts of detail and resolution, but it is not exactly what I would describe as the epitome of natural sound (I’d be hard pressed to find something that represents that at this price range anyway). However, the 8n has another trick up its sleeve. Its custom-tuning sound system does one thing very well that few other IEMs can, which is excel in versatility. This IEM would be a safe buy for the consumer who is not entirely sure what he/she is looking for, other than to enjoy the music. As long as the listener’s preferences do not sit within the rare extremes, the 8n should be flexible enough to not offend anyone. Too much bass? No problem. Treble too piercing? 8n has it covered. In my case, though having tried dozens of mid to high-end IEMs in the past two years, the 8n is still capable of producing a very enjoyable, well-tuned sound signature that puts it above many more expensive pieces.

The E4000 is a single dynamic driver IEM from final audio design, currently selling for $149 via Amazon.com. In a world of multi-driver IEMs being available at continuously plummeting prices, it seems a bit counterproductive to purchase a single-driver IEM at this price point. However, the E4000 has been touted by many to be a solid value — curiosity got the best of me, and here are my impressions.

The E4000 comes with basic accessories. Though not extravagant or elegant in presentation, they are completely adequate and cover the necessities of an IEM in this price range. In the box, you will find:

• IEMs + cable
• Carrying case
• Tips
• Carabiner
• Shirt clip
• Ear hooks

The carrying case is certainly unique, I’ve not seen anything like it except from final audio design. It’s made completely of silicone, and snuggles the IEMs gently when the silicone cover is pressed over the flexible bottom. The carabiner is branded with the final audio logo (unfortunately no photos, as I purchased this set from a friend who couldn’t find the carabiner).

The E4000’s detachable MMCX cable doesn’t look too premium. It looks fairly old-fashioned in fact, lacking the typical braided designs that most detachable cables opt for nowadays. However, it’s very supple and soft, which already places it quite highly above many other cables. It doesn’t maintain much memory and has virtually no springiness, which is generally a plus in my books. Visually, it doesn’t bring much to the table; functionally, it is among one of the better cables I’ve used by far.

The E4000’s design seems to fall in line with the rest of final audio design‘s E-series IEMs, with a minimalist barrel-shaped housing. However, unlike the previous E2000/3000 IEMs, the E4000 thankfully comes with detachable MMCX connectors for cable swapping and peace of mind.

Visually, the E4000’s elongated aluminum body is coated in a jet-black finish, with the slick and stylish final logo imprinted opposing the E4000 model no. in a crisp white. There’s a milled groove near the posterior end of the IEM, wrapping around the entire circumference of the housing. The cylindrical rear has chamfered edges polished in silver, bringing flashy accents to the otherwise simplistic design and encapsulating the final ‘honeycomb’ logo.

The E4000’s fit is mostly comfortable. I don’t have any issues with discomfort, but the elongated barrel design seems to feel considerably less secure in my ears when compared to something like the CA Andromeda. It feels as if the IEMs are being held in my ear almost solely by the tips — as a result, I almost always wear the E4000 with the cable over my ear.


The E4000’s signature can be described as a very coherent, thick & warm sound with moderately boosted bass quantities, paired with warm vocal tones that could be described as ‘lush’, yet maintaining adequate clarity. Treble rolls off noticeably, resulting in a relaxed sound with minimal air. Don’t get the wrong idea though — the bass and midrange are so pleasant that I sometimes forget I even wanted treble sparkle / extension.

The E4000 is satisfyingly bassy. It reaches down low enough without any substantial rolloff until the very lowest registers, where it begins to lose authority. Otherwise, the subbass is presented with a solid amount of rumble and texture. Midbass is full, boosted moderately with a mostly natural decay, straying on the slightly slower side of things. Texturing in the bass is adequate, certainly more impressive than most IEMs in this price range. It’s a very fun and visceral bass presentation overall; in terms of quantity the E4000 could potentially satisfy bassheads, but it tends to straddle the line between normal and basshead quantities.

The E4000’s midrange is also fairly pleasing to listen to with a warm, full, natural tonality. Midbass transitions gently into the upper frequencies, giving the lower midrange a full and thick presentation with plenty of body. As much as I’d like to be logical and assume bass bleed is there, I can’t seem to hear much muddling between bass notes and vocal: this is good. Unexpected, but good — it sounds more like an intentional boost to the throatiness of lower vocal frequencies. Upper midrange is lifted to maintain sensible clarity, giving vocals a slight boost that doesn’t come off as harsh or overdone (no veil here). Texturing in the upper midrange is ample, however it does sound slightly smoothed over. As a result, the E4000’s midrange takes a hit to technicalities but presents itself with a syrupy, ‘sweet’ sound that I find enjoyable and relaxing to listen to.

As expected, with such evident quality poured into the E4000's bass and midrange, the treble turns out to be the most divisive aspect of the sound. Lower treble carries a decent amount of energy, preventing the E4000 from sounding overly mushy or dark. Detail and resolution is also there, though not in the forefront of its tuning -- it's definitely not a priority. The mid-treble and upper-treble begins to roll off noticeably from this point, resulting in a specific sound that is pleasing to the ears, but slightly lacking in air and extension. To an audiophile who wants to hear it all, pick out tiny details and sparkles with ease, this is likely a dealbreaker (note the detail is there -- just not presented with priority). However, this may be one of the E4000's strengths for those who are sensitive to high frequencies, or those who have multiple IEMs and want one with this specific presentation.

Not so much concrete info but rather some minor thoughts I had while listening to the E4000. As some may know, I’m a huge fan of the Campfire Andromeda. Its treble presentation is like no other — when I was first looking for a warm and relaxed IEM, the Andromeda showed me the light and I was finally able to appreciate a more forward treble presentation.

In the first 30 minutes of listening, the E4000 enamoured me with its warmth and ease of listening. The dynamic driver’s natural yet visceral decay left me aching and wanting more when I switched back to the Andromeda; the midrange felt warmer and more inviting. If the Andromeda had turned me into a treblehead, the E4000 was somehow pulling me back to the darkside (or warmside). Sometimes sacrificing sheer technicality, detail and resolution feels worth it in exchange for a guilty-pleasure tuning.


The E4000 certainly has a flavorful, coloured sound. It’s warm, it’s pleasant, and it’s enveloping. It sounds natural and full, though lacking in upper frequency extension. Texturing, detail, and general technicality aren’t its strong suits, but the sound signature can be intoxicating. Thankfully, the tuning of the bass and midrange coloration steal the spotlight from its otherwise obvious treble shortcomings. In terms of design, it sticks to its final audio design roots and sports mostly minimalistic cues that many may find attractive. I have no qualms with the materials used in the housing, and the stock cable is practical and comfortable. At $149, I find the E4000 to be an excellent buy for those who are looking for a natural and organic tone. However, detail-heads and treble-heads, stay away.

This review was first posted on my small Wordpress blog here. Thanks for reading.

The Simgot EM5 was an IEM that I had tried quite some time ago (I believe it was Canjam Socal just this year), but had no strong opinion on it. However, many of the IEM’s that I had neutral opinions on at the show floor turned out to be a bit different when I actually spent some time with them.

The Simgot EM5 is a 5-driver universal IEM, sporting a single dynamic driver in tandem with four balanced-armature drivers. The dynamic driver in this IEM is the same driver found in the well-received Simgot EN700 Pro. Musicteck offers the EM5 for $499 in their online store.


I’d like to give a shoutout to Andrew over at Musicteck for providing a loaner set of the EM5. I’ve sent general questions over to them over a year ago, and they’ve always been extremely responsive and helpful. I’ll be returning the product shortly after I finish writing this review. I don’t receive any other benefit other than having the opportunity to give the EM5 a test drive.

Inspection​

The packaging and accessories are simple and streamlined, yet nothing short of premium. This comes at no surprise, as Simgot has proved to be quiet consistent in the packaging / accessories department.

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Included is a hard rectangular leather-esque carrying case: this is definitely one of the nicest cases I’ve seen included with an IEM. It is secured by a magnetic closure system, with plenty of room inside for the EM5 and a small elastic mesh panel for storing whatever else you may want to include (tips?).

There are 6 pairs of clear translucent tips included — a set of wide-bore ‘high-frequency’ tips in S/M/L, and narrow-bore ‘bass’ tips in S/M/L.

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The included stock cable is a four-core (OCC x 2 + SPC x 2) 3.5mm SE to recessed 2-pin connection, designed to fit seamlessly with the EM5. It consists of intertwined copper and silver, giving it a shimmery, luxurious appearance. Earhooks are preformed, and can probably be reshaped with a bit of heat. There is a champagne-gold chin slider above the y-split. Though it’s pretty to look at and completely functional, I do have a few remarks about the cable:

• The 3.5mm plug is not compatible with some phone cases, as the diameter is 1-2mm too wide.
• The female 2-pin jacks on the IEM units are protruded (similar to NuForce EDC) so they look ‘best’ with the stock cable / other recessed cables.

Sound

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The EM5, in my opinion, is one of the more coherently implemented hybrid IEMs in terms of overall sound signature.

Bass​

The bass has a very linear and balanced presentation. I can’t imagine anyone out there would listen to the EM5 and consider it too bassy for their tastes; however it’s likely some may feel the opposite, wishing for a more rumbly and authoritative subbass rumble. Midbass is slightly humped over the subbass, resulting in a slightly punchy and agile sound while still retaining the dynamic decay and impact that my BA-only IEMs lack. It could use a hefty touch more subbass rumble, as beefing up the low end a tad bit would result in greater genre versatility. The EM5 is definitely not an IEM that will satisfy bassheads, as it is more focused on speed and clarity rather than pure quantity.

Midrange​

The midrange is where the EM5 really starts to become its own character, being jarringly clear with excellent resolution. Lower mid-range comes second to the upper mid-range without a doubt. However, thanks to the tame midbass presentation, male vocals don’t suffer a noticeable amount — they are not recessed. Upper mid-range is unapologetically elevated, resulting in a striking clarity that took me by surprise. If there were a physical representation of the EM5’s tuning, the lead vocalist of the group would be in the spotlight on a giant stone pedestal, lifted above the background. Female vocals absolutely soar on the EM5, barely nudging along the border without being outwardly offensive. If there were ever a time to call an earphone the all-too-cliché phrase “crisp & clear”, this might be the one. Unfortunately, this characteristic feature is also its primary shortcoming, as I could imagine some may find it too forward in this region.

Treble​

The Simgot EM5’s treble is great in the sense that it does nothing distinctly wrong. Lower treble carries some of the momentum from the upper mid-range without being strident. It certainly comes off with a solid sense of clarity and speed. Extension into the upper regions is also adequate, I don’t ever find myself wishing the EM5 had more air. There are no major dips or valleys to make the treble seem uneven or unrefined. Layering between instruments around the treble and midrange is good, creating a solid sense of space and positioning.

Overall​

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Graph is taken using an IMM-6 and iPod Touch, using FFT Plot. Take it with a grain of salt.

In summation, the EM5 delivers with incredible clarity and precision, though with a slightly lacking subbass presence. This IEM is definitely not the choice for those who are sensitive to strong upper-midrange frequencies, or those looking for a more laid-back sound with emphasized bass. I found myself enjoying them frequently at lower volumes for acoustic, classical, and other genres without a heavy emphasis on bass. However, music that has a heavy focus on lower frequencies (i.e. Rezz & Fytch – Toxin) feel a bit emotionless and lacking.

I find the EM5’s soundstage to be capable; it’s definitely not the widest I’ve heard. It extends more forwards / backwards rather than to the left / right, with an above average sense of height. It is far from being claustrophobic.

Comparison to Campfire Audio Andromeda​

I recall the first time I heard the EM5, there was a sense of an intentional, precisely tuned brightness. Immediately I thought of another IEM that was known for being bright yet incredibly well-received — the Campfire Audio Andromeda. If I haven’t stated it enough yet, I am a huge Andromeda fan and have purchased it multiple times.

For this comparison, I’ll be running both IEMs through the Shanling M0. I know the Andromeda is incredibly picky with source impedance, so I’ll also give it a go with the UE Buffer Jack. Many Andromeda owners are familiar with the buffer jack’s sound signature.

After listening to the EM5 for a bit of time, putting the Andromeda on was unfortunately disappointing — the midrange on the EM5 is levels clearer, it is almost as if the Andromeda is producing vocals from beneath layers of blankets. Vocal separation from instruments on the EM5 is simply superb. However, the EM5’s midrange is also drier and less forgiving than the Andromeda’s, with greater texturing. Andromeda has a smoothness / lush property that really can be pleasing to the ears at times, once your ears adapt. After a bit of listening, I could once again hear and pick out the details through the relative vagueness of the Andromeda’s upper midrange. Bass on the EM5 is quicker, cleaner, and less prone to bloating, though also lesser in quantity. Impact is roughly the same, slightly edging towards the EM5. However, the Andromeda straight through the M0 has borderline bass bloating issues, where the lower midrange is overly full. Andromeda has greater treble extension and air than the EM5, with a ‘sparkly’ property following its track record. However, the EM5's lower treble is more forward resulting in greater precision at the cost of occasional hotness.

Overall, the EM5 and Andromeda vary quite a bit with their intended sound. With a low OI, the Andromeda’s bass presence is greater than the EM5’s, both in subbass and midbass quantity. With the UE Buffer Jack, the Andromeda’s bass quantity and speed comes closer to matching that of the EM5, though lacking the dynamic driver impact. The EM5 presents its midrange with greater clarity and texture, though more fatiguing in that manner. Treble on Andromeda is more extended, airy, and unique in tuning; the EM5’s treble is more traditional in its approach. Andromeda has a charming sound that is easy to listen to, offering a laid-back midrange tuning without sacrificing incredible treble extension; the EM5 offers a less musical, more ‘in-your-face’ detailed tuning with emphasis on upper midrange.

Conclusion​

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The Simgot EM5 is a uniquely tuned, midforward IEM that focuses heavily on vocal clarity and resolution. With a lighter, punchy, quick bass presentation and traditional approach to treble, the EM5 would be an incredible fit for those who enjoy listening to acoustic, classical, and vocal-focused tracks. It comes in a complete package with excellent quality accessories, and a premium-quality stock cable. At its $499 asking price, I would say it is an excellent value for those who are searching for its specific sound — however, those who desire a warmer, bassier signature should continue to look elsewhere.

Confession: I use my phone as a source for my portable listening purposes. A handful of people out there are probably disgusted by my mindset -- I’d spend over $1,000 on quality IEMs, only to waste their potential by driving them through a cellphone? But this one is for those out there in the same boat, those who struggle with the dilemma of balancing the two attributes of portable audio -- quality and convenience.

I’d say I’m very much focused on the convenience side of things; I do enjoy higher quality audio (who doesn’t?), but not when it comes at the expense of the overall experience.

When I got into the world of portable audio, I decided I needed to pick up a quality source to pair with my new chi-fi IEMs and OnePlus One. In came the JDS Labs C5D, my first portable DAC/AMP. It sounded “less bad” than my OnePlus One, but let’s just say I never brought it outside the house.

It was clear that I was not willing to:

1. Carry another device around.
2. Bear the responsibility of charging it.
3. Tether it to my phone using additional, bulky cables.

And I’ve stood by this ideology for a long time. Most of my portable listening is done on the go; whether I’m walking around outside, studying quietly in the comfort of my home, or in the gym, I want to make my experience as convenient and streamlined as possible.

But then the Shanling M0 comes along, and checks enough boxes to push me back to the dark side.


When the Shanling M0 was announced, I was instantly enamoured with the idea. Ultra-portable, stylish in design, feature-packed, and boasting impressive sound -- all at an unexpectedly low price point of $99. Now, since then the price has been tweaked a bit up towards $109, but read on to find out why I still think the M0 is totally a bargain.

Now having had the Shanling M0 for roughly 1.5 months, I think I'm confident enough to post some solid impressions on it. Big thanks to Andrew over at Musicteck.com for offering the M0 at a discounted rate for me to share my thoughts and impressions on the device. You can purchase the M0 for $109 through the following links:

Shanling M0 @ MusicTeck

MusicTeck @ Amazon

I won’t be able to offer detailed comparisons to the other DAPs I’ve tried in the past, as I don’t have them in hand. As mentioned earlier, I consider myself a casual ‘audiophile’ by the general definition of the word, but ultimately a consumer beneath the surface. For that reason, I hope this review reaches people just like me -- I’ll be comparing the M0 against one of the current “best” portable audio phone sources on the market, the LG V20.



On a design note, the M0 is a tiny, portable DAP reminiscent to that of the Apple Watch. I ended up picking out the Titanium color, which is an ultra-premium pearl / champagne colored metal. The frontside is almost entirely covered in a curved “2.5D” black glass, with the display a bit smaller than that. Directly in contact with the display is the aluminum body of the player, cut with a great variety of smooth and slightly more aggressive edges. The physical volume knob is milled with rivets along its outer edges with some pretty close attention to detail. It’s a great looking device, and definitely a player that could be turning heads in public (if they notice it despite its tiny size!).

The learning curve of the Shanling M0 is fairly low, and very simple to pick up. The interface is clean and easy to navigate, through the primary touch commands of single-taps and swipe-lefts to return to the previous page. The features are basic but convenient enough to provide the necessities of a DAP.

There is no on-board storage for the Shanling M0 -- a micro SD card is required to play tracks locally (bluetooth / DAC features are still operable).

The overall fluidity of using the M0 can be described as “mostly quick”. Animations while navigating through menus are smooth, but not quite on par with something buttery smooth like an android-based DAP. There are small quirks with the touch sensitivity, notably two that come to mind:

• When scrolling down lists, touching an item at the bottom of the screen will not yield a response from the player (usually ends with accidentally selecting the item above it)
• The M0 has a feature to return to the home screen from any given screen by touching and holding for a short period of time. Sometimes (an unfortunately high percentage of times), tapping and holding will not return to the home screen and I would have to try again.

There is one physical button on the M0, built directly into the volume control (pressing downwards on the knob). As far as I’ve found, the button is only used for powering the device on/off, locking/unlocking the screen, and can be assigned one function activated by double tapping the button. This means that for users who like to control playback using hardware buttons without turning on the device screen, the M0 will be limited to only one control (unfortunately).


On the bright side, this knob is very tactile and responsive to use. It reverberates with a soft, blunt clicking on rotation, and a solid click when pressed.



Volume control is performed exclusively by rotating the knob, and can be done with both the screen on and screen off. The speed of volume control feels perfect, neither too slow nor too fast. However, when the screen is ON, changing the volume via knob opens up a small bar at the top of the screen that displays the current volume on a scale of 0-100. There have been several times where my finger touched the bar slightly, and the player would jump to max volume (touching the top-right of the screen). Extremely terrifying with sensitive IEMs, at very dangerous levels of exposure. I noticed that others have had this issue on Head-Fi.org as well -- I personally don’t think touch volume are necessary, and the knob itself should be enough for safety reasons.

The playback interface of the M0 seems to be slightly choppier, and less fluidly animated than the rest of the user interface. Panning between playback menus (playback control / equalizer + info / lyrics) seems to move a bit slower than optimal, with noticeable gaps between each animation frame.

However, there are plenty of features at your disposal in the playback screen. It is complete with playback method (shuffle / repeat one / repeat all), "favorite", playlist control, file info, equalizer access, track scanning, and lyric info all on top of the album art.

My M0 unit shipped with the V1.5 firmware. Updating to the V2.0 firmware increased the interface fluidity noticeably; animations were quicker and crisper, and the UI felt more responsive overall. However, FW2.0 caused the bluetooth receiver feature to stop functioning properly when connected to my LG V20 (served as a bit of a roadblock in finishing up my post). Shanling has been fairly quick to put out software for the M0, as the recent FW2.1 has seemingly fixed bluetooth issues caused by the previous software.

The Shanling M0, as mentioned, is very pocketable and portable. It's very lightweight and does not create a noticeable burden in your pocket (unless you dedicate the entire pocket to it, to prevent scratches!). I especially like that I can often go through multiple days of use before having to think about charging it. I would estimate the battery life lasts me an average of 12 hours playback time. And when it does come down to having to refuel, I'm happy that it uses USB Type-C for charging and data transfer, as I no longer use any devices that have the old micro USB standard (reason I didn't charge my previous DAP/DACs).


Its tiny form factor can cause issues for those with larger hands. For me (slightly below average hand size), navigating menus and accessing the volume knob on a daily basis feels fairly natural. However, I have not figured a way to navigate both the menus and control the knob consecutively without re-positioning the device in my hand. Regardless of its small size, I often find myself using the M0 with two hands anyway.



In my opinion, source changes will never be as drastic and noticeable as actual IEM differences. The Shanling M0 sounds to have a slight but noticeable lift in the sub-bass region, as well as a fairly linear sound into the upper midrange. Background is very clean and dark, with very little noise or ringing. Detail retrieval seems to be completely adequate, though I wouldn't say that it poses a particular emphasis on putting microdetail at the forefront of its presentation.



The Andromeda is known to be a very source-sensitive IEM, with its sound signature varying wildly with different output impedance matchups. It’s also quite infamous for picking up hiss from unclean sources, as a result of a high noise floor.

When I first tested out the LG V20, I was fairly impressed that the Andromeda exhibited very little to no hissing. Listening to the Andromeda through the Shanling M0 has been a bit eye opening to say the least. There is absolutely no hissing or stray noise picked up by the Andromeda, and the background is cleaner than the V20 (ignorance is bliss). I thought the V20 was already quiet with the Andromedas, but the M0 takes it a step further and introduces a seemingly black, empty background for the music to play over. Both seem to be similarly capable in terms of resolution, but the M0’s cleaner presentation and decay give it the perceived edge in leisurely listening. Tonally, the Andromeda paired with the M0 has a greater lift in the sub-bass region, while the V20 has a noticeably emphasized sharpness (in a negative connotation) to upper midrange notes. As a result, it the M0 seemingly has greater depth with a fuller, thicker tone with the Andromedas, while the V20 seems flatter and more compressed. I would tend to carry a UE Buffer Jack on hand with this combo, to produce an airier, more spacious sound signature.


More in line with the budget offerings, the Tin Audio T2 has definitely secured in a spot in my IEM arsenal for being a well-built IEM with balanced tonality. Its primary downfall is that it has a noticeable subbass roll off, making the sound a bit lean and weak in the lower registers. The Tin Audio T2 is a perfect match with the Shanling M0 -- it mostly alleviates the T2 of its achilles heel, providing a gentle boost to the subbass. If anything, the T2 sounds impressively flat to my ears through the Shanling M0. I would say this is a stellar combination for those looking for a balanced, quality sound in an ultra-portable and affordable package. In terms of stray noise and cleanliness, the M0’s strength over the V20 are not as emphasized on the T2 as they were when using the Andromedas.



This has proven to be a very fun combination. The Acoustune HS1551 is a very unique-sounding IEM, with exquisite bass texturing and resolution, paired with a sweet, resolving midrange. Through the LG V20, the HS1551 can occasionally (rarely) reveal a slightly metallic, sharp tinge to upper midrange vocal notes. Pairing with the M0 has overall been a more pleasurable listen -- bass is slightly more emphasized, highlighting the properties of the HS1551’s low end. Another notable pairing aspect is that the HS1551’s upper midrange is seemingly never an issue through the M0, alluding to the idea that the sharpness lies within the LG V20. The M0 also doesn’t seem to direct any highlight or attention onto the treble, which in my opinion works well with the 1551’s particular sound signature.


For me, one of the biggest selling features of the Shanling M0 was that it could function as a bluetooth receiver. As an owner of the Fiio BTR1, I was not completely satisfied with the battery life I was getting out of it. The Shanling M0 appeals to me as it not only has bluetooth receiver functionality, but also comes with fully decked-out DAP functionality, greater battery life, all while retaining a slick portable form factor.


I had no issues setting up and pairing my devices with the M0. I can say that with the latest V2.1 firmware update, bluetooth is working as expected, only with the occasional hiccup in sound. Now that BT seems to be working properly, I can comfortably say that the M0 continues to display excellence in low noise floor with a cleaner, darker background when paired with my LG V20 using AAC codec. While connected via Bluetooth, the M0’s screen shows a large bluetooth logo along with the codec being used. Only volume control is functional while connected via BT.

There is a very brief delay in pause / playing of audio, though not drastic enough to make watching videos startlingly desynchronized. I hear a thinner, less full-bodied tone listening to the same track over BT versus directly through SD card. Subbass is definitely more rolled off and dynamics seem lacking in comparison. However, most of the M0’s sonic characters seem intact apart from these glaringly obvious changes.

The Fiio BTR1 has a weaker battery life, as well as significantly noisier processing unit (various electronic signals / stray sounds during quiet passages of music). It also sounded warmer overall, with less apparent sub bass roll-off. However, the BTR1 has one large advantage over the M0 -- it has hardware buttons, allowing for direct playback control. If you don’t have access to your source device while using the M0, you will not be able to play / pause / change tracks.


The Shanling M0 is a complete package, offering excellent sound and a multitude of features at an incredible price. On top of that, it is an elegantly designed and truly portable device. At $109, I doubt many other devices can compete in terms of absolute sonic value, as it already puts the highly-praised LG V20 to shame in terms of cleanliness while edging it out in dynamics. It does have a few nitpicks, such as some touch input issues and lack of bluetooth playback control, but these fail to bring it down from what it really is -- a DAP that manages to blur the once solid lines between quality, value, convenience, and style.

I'll start this review off by saying I'm a huge fan of the CA Andromeda, it's one of the few (possibly the only) IEMs that I've kept throughout my various buying / selling / trading of IEMs. Even though I value it highly as my 'endgame' IEM, I still find myself intrigued and tempted to buying and trying more affordable, value-oriented ones. I like to find hidden jewels, high-value products in today's saturated IEM market to recommend to friends and family. So you could only imagine how excited I was when I saw the Comet's announcement -- a $199 'budget' IEM from Campfire. Let's see if its relatively low price point is a result of cut corners, or if the Comet can live up to Campfire's highly lauded legacy.

The Comet stays true to Campfire's history with its packaging, nothing seems to be left out or skipped out on regardless of the $199 asking price. It comes in the typical cardboard foldout box, this time with a marigold speckled backing. Additionally, the display text is orientated along the short edge of the packaging, standing vertically -- I personally think this makes the box design look a little imbalanced due to the position of the sticker, but I guess that's how they'll differentiate from the old and new products.

Inside the box, you find (almost) everything you'll find with any other Campfire IEM, sans Comply tips:

• Comet & Microphone Cable
• Black (faux) leather carrying case, with grey internal lining.
• S/M/L wide-bored silicone tips
• S/M/L foam tips
• XS/S/M/L Spinfit silicone tips
• Cleaning Tool, CA Pin
• Documentation

The Comet is machined from stainless-steel and hand-polished to a mirror finish. The result is a housing that exudes confidence in build quality, it feels solid, heavy, and premium to the touch. Campfire explains that the stainless-steel housing will be more durable than the previous aluminum shells, avoiding the all-too-common paint chipping. However the mirror finish tends to reveal fingerprints and other bodily oils fairly easily as a result. These can all be wiped away fairly easily with your shirt / a cleaning cloth.


The design itself strays away from the previous mandatory over-the-ear fit, shaped more like the common 'bullet' shaped earphones. Aesthetically, the Comets are far from that -- they have a design that is reminiscent of a futuristic chrome hair dryer / ray gun, with sleek curves and defined edges where intended. Build quality has no real problems to speak of -- the stainless steel machining looks pristine and accurate, there are no rough edges whatsoever. Logo etching is sharp. MMCX connectors are sufficiently tight, and don't spin freely. The grille design of the Comet is also far above any other I've seen; rather than the budget option of a metal screen mesh, these are actually built in as a part of the stainless steel nozzle.

From looks alone, it doesn't look like any corners were cut. Though the housing shape itself may not appeal to everyone, there is no question that the Comet's design and build had a lot of thought put into it.
The Comet has been actually quite a pleasure to listen to for the past day, though initial impressions were pretty underwhelming. For $199 it really does wonders with a single BA. I didn't expect to hear an extended sound on both ends of the spectrum from Comet, especially after my experience with the Orion. For the price, you'd be hard-pressed to find a better single BA IEM with the completeness and quality of the Comet's package . You might be able to find more accurate mid-range timbre and superior layering in a $200-or-less dynamic driver IEM, but the novelty and exclusivity of a BA driver is always there -- I'm sure there are people (possibly myself) that would take this over anything else at $200, trading off the more natural mid-range timbre of a proper DD driver, for the snappiness and speed of a BA driver. What I once thought was a consequence of single BA drivers, lacking extension on either end of spectrum, is now ruled out as a myth by the Comet. While many companies are increasing their prices with each and every product release to exorbitant levels, Campfire Audio seems to be innovating in the other direction, making better products possible at a more affordable price point.

The Falcon C comes in a metallic silver cardboard sleeve, which slides out to reveal a matte-black folding box secured by a magnetic latch. Upon opening the box, you are presented with the IEMs themselves and the metal carrying case. The metal carrying case itself is not very pocketable due to its height and rigidity, but is a nice addition included with the overall package. The convex aluminum surface is somewhat thin and compressible, pressing down on it will cause it to go flat and spring back once pressure is released. It is internally lined with a thin felt surface, and closes by a seemingly snap-lock system.

Within the metal case are the Falcon C's accessories. You get a 3.5mm to 6.3mm adapter, flight adapter, and a plethora of tips. There are 3 pairs (S/M/L) of the default blue-core 'bass' tips (medium bore), 3 pairs (S/M/L) translucent-grey 'clarity' tips (wider bore), and 4 pairs of (XS-L) Spinfit tips. The IEMs themselves also come with a pair of medium blue-core tips installed, so there are a total of 11 pairs of tips included in the box (impressive)!

The Dunu Falcon C is very well put together. It sports an attractive, dark and sleek design that looks great -- it is undoubtedly the first Dunu IEM that has caught my eye. The housing material is formed with 'liquid metal', perhaps similar to that of the Campfire Vega / Dorado / Lyra II line -- it is smooth and cool to the touch, feeling very premium regardless of its asking price. The housings are coated in a dark-grey shade, with a hint of metallic tinge beneath the surface. The metal shells are surprisingly hefty, but not to the point that they are noticeably heavy in the ear. I applaud the design of the Falcon C, as it is both pleasing to look at and comfortable to use.
The housing is ergonomically shaped, reminiscent of a curved and smoothed teardrop. Once I was able to find the correct tips, they fit very securely without any discomfort. The angled MMCX connectors are also a great help to this. The design sits flush with my ears, I would go as far as to say these are sleepable IEMs.

On the proximal side of the housing, there are a few visible seams that are apparent. They aren't rough or unrefined however, as the housings remain entirely comfortable. There is also a large driver venting, covered in a flat silver sheet with perforations. Left-right indicators are clearly legible and engraved into the surface.

The Falcon C's cable is a mixed bag for me. It is a good-looking cable, shaded in dark brown with the internal wiring subtly glimmering from beneath the sleeving. It is also soft and quiet, reducing cable noise to a bare minimum. The ~45 degree angled MMCX connectors are great for ergonomics and pair well with the housing design. However, it is not without its issues. The cable itself is fairly springy, it tends to create funky loops when dangling between your ears and DAP/phone pocket (it is caused by rotation / mild twisting of the cable). Additionally, the material has a 'sticky' rubber texture, tending to grab onto the things it touches -- specifically clothing and itself. When the cable has mild tangles or loops, you can't really run your fingers through the wire to sift out the kinks; with the Falcon C's stock cable, you have to pick the wire tangles apart carefully as the rubber tends to grip to itself.



The Falcon C is v-shaped in tonality, with excellent resolution and clarity. Lower midrange sits behind in the mix, creating a spacious and clear sound with above average imaging. Bass is enhanced with a favor towards midbass; upper midrange rises gently carrying momentum noticeably into the lower treble, which extends gently beyond into the upper treble.


The Falcon C's bass is one of its stronger assets. Subbass extends deep, though the lowest registers aren't as pronounced, still rumbling with authority. Midbass is impressively impactful and agile; speed is definitely above average, resulting in a relatively tight and technically apt presentation. Bass presentation will never come off as slow or syrupy. Bass is also fairly dynamic, it does not come off as one-noted or 'wooly' in texture like some other dynamic IEMs (an issue I felt to be present with the Pinnacle P1/X). In terms of quantity, the bass is undoubtedly lifted above neutral. Falcon C's bass quantity will likely please many low frequency lovers, but might not have enough for the most diehard bassheads.


Midrange is usually tricky to get right, as my ears are more sensitive to noticing quirks and mishaps in the mids. Being an overall v-shaped IEM, the Falcon C's lower midrange is slightly subdued in relation to its neighboring bass and upper midrange frequencies. Upper midrange is lifted gently with excellent texture and resolution, though may come off as slightly steely at times. Female vocals are stand out as airy and detailed in a track, while male vocals have a clear biting edge but less body. This trait presents itself as a double-edged sword, resulting in a slight occasional metallic timbre associated with vocals.

Update: After many many hours of using the Falcon C, and giving it a fair chance with tip rolling, the midrange sounds quite a bit more natural than I first remember. The artificial metallic timbre is less noticeable, though still present on certain tracks. Updated from 4.0 to 4.5 stars.


Falcon C's lower treble carries its momentum from the lifted upper midrange, with noticeable emphasis on its lower treble. For this reason alone, I would not recommend the Falcon C to those who are sensitive to treble; it really dances on the borderline to sibilance for me. However, it offers fantastic clarity throughout its treble presentation, without any noticeable or substantial dips / valleys. Resolution is nothing short of impressive, especially in its price bracket. Extension into the high frequencies is not lacking -- it presents itself with an above-average sense of spaciousness / airiness and sufficient sparkle.

The Dunu Falcon C is a beautifully designed universal IEM, sporting a v-shaped tonality (leaning towards bright) with excellent resolution and extension in both directions. Build quality feels premium in both quality and aesthetics, its metal shells coated in a dark matte-grey and detachable MMCX cables reassuring durability. Bass is impactful and quick, with fantastic treble detail and extension. Falcon C's Achilles heel is within its occasionally energetic upper midrange, lending itself to come off as unnatural. But for those looking for a premium IEM with impressive bass and treble performance in this price bracket, it becomes seriously hard to rival the Dunu Falcon C in its strengths.

Introduction

The EARNiNE EN210 is a dual balanced-armature driver in ear monitor, utilizing drivers created in-house by TSST. The driver setup, per earpiece, includes a full-range driver and woofer. EARNiNE was graciously able to provide a sample for me to test and review.

At the moment the EN210 is not currently marketed for sale outside of Korea. However, it was stated that if anyone were interested in picking one up, they could do so by emailing to

tsst@tsst.co.kr

They will help you purchase one. Their shipping was extremely quick and satisfactory, delivered within a matter of days to the USA.

Packaging and Accessories

The packaging is fairly simple, it doesn't attempt to be flashy or luxurious in any way. It does get the job done. Inside of the cardboard sleeve, the EN210 are packaged in a black textured box that opens to reveal the IEMs and case inside.



I do like the case, it is semi-hard and very spacious. The IEMs wrap nicely into a small bundle and don't really fight back when you place them in the bottom portion of the carrying case. It is a bit taller than really needed, but regardless it looks very good and works fine. It would be more easily pocketable if they had cut the height in half, however.



Tip selection is rather minimal, though I find the included foam tips of fairly good quality and are one of the few that don't drastically muddle sound (cough-Comply). They are very similar to those included with the Acoustune HS1501/1551.


Design

The EARNiNE EN210 has a very attractive, aesthetically-pleasing appearance. The shells are a dark, transparent smokey brown revealing its tightly packed and neatly organized innards. You can see parts of the drivers as well as the sound channels leading to the nozzle. Imprinted upon each housing is the EARNiNE logo (which is very elegant and looks great).



The shape is designed to be very ergonomic, reminiscent of the very comfortable Shure/Westone counterparts (except with more defined, aggressive-looking edges). It looks and fits great, in my experience. It's a rather comfortable housing, fitting into my ears securely with a medium depth and consistent seal. The shape is also on the flatter side, it sits flush inside my ear and I can even lay on a pillow ear first without any pain or discomfort (however, sound is slightly affected).

The nozzles are made of metal contrasting sharply with the IEM's shell color. It adds rugged aspect to the EN210, a touch of raw industrial design. The nozzle is on the longer side, tip compatibility should be fairly easy to work with (they are not as wide / thick as Campfire nozzles, however). There is a grill covering each nozzle to prevent debris or wax from entering.



The cables appear to be detachable, but they are NOT. The cables are actually fixed -- this is a shame because it looks like such a perfect shell type to incorporate some sort of MMCX/2-pin connector. This is one of the letdowns of the EN210, as there are so many great aspects to this IEM but a critical point for many potential buyers is a replaceable cable.

Onto the cable itself, it is a twist-braided 3-core cable, splitting into individual 2-strands for each channel. It is very soft / supple and makes little to no noise. There is a splitter with a chin slider, both work fine and have no real issues. I do notice that the strain relief on the right-angled 3.5mm jack is very lenient and will bend without much resistance, which may be of concern later down the line. The IEMs themselves don't seem to have much relief, but the earhooks and black plastic attachment points should work fine in place.

Regardless, build quality seems rather respectable. Only time will tell in the case of the EN210's longevity/durability.







Sound Impressions

Soundwise, the EN210 varies noticeably depending on the source it is being driven from -- a lower output impedance will reproduce a downward-tilted, slightly laid-back sound signature. Bass would increase in quantity, and upper midrange / treble takes a relatively close seat behind the lower midrange. A higher output impedance will create a more balanced sound signature, in which bass becomes more aligned with the vocals, and the lower midrange no longer has an upper hand over the upper midrange. Lower treble also gains a bit of energy, giving an improved perception of detail. In both cases of low and high output impedance, the EN210 doesn't have very impressive treble extension -- it does not produce a noticeable sense of 'airiness' or spaciousness.

Here is a general frequency response of the EN210.



Bass

The EN210 has a well-extended and pleasingly balanced bass presentation. Sub-bass is present and rumbles at lower registers, though it doesn't have the texture of a good dynamic driver IEM. Mid-bass is controlled, not too emphasized nor overpowering the sub-bass. From what I am hearing, the overall speed of the bass is also not as quick as your typical balanced-armature woofer; it feels a tad less snappy (more natural), but not as drawn out as your average dynamic driver.

With a slightly higher output impedance, both sub-bass and mid-bass are kicked down a notch. However, I think the sub-bass becomes a bit less noticeable and rumbly, while the mid-bass retains its impact.

Midrange

With a low output impedance, the lower midrange is fuller and more pronounced, producing vocals with thicker presentation. Upper mid-range sounds to be slightly behind the lower midrange (slightly is the key word), vocals don't have the immediate edge that cause female vocals to sing and shine. In this case, vocal presentation is really up to user preference.

However, with a higher output impedance (tested with ~5 ohm), the midrange presentation becomes noticeably more energetic. Lower midrange decreases in quantity and fullness. As a result, the upper midrange sounds more forward and vocals feel 'cleaner'. They don't feel sound as thick and cozy as they did prior, but in turn have improved perceived resolution. Female vocals sound crisper and have that desirable 'bite'. I personally really liked this variation over the darker signature, it's very pleasing and natural to my ears.

The source impedance's effect on the sound signature may be a good thing or a bad thing -- some may like the more laid-back signature, some might like the cleaner and leaner signature, and some might like both. Many smartphones (which still have headphone jacks) and some DAPs have a higher output impedance, but the majority of high-end portable audio devices have a lower z-out. This is something to keep in mind when matching the EN210.

Treble

The EN210's treble presentation is ultimately ordinary. It doesn't have any exceptional properties in extension, resolution, or sparkle. On the bright side (or, actually -- not literally bright), the EN210's treble is very rarely, if ever, harsh or strident. With a lower output impedance, lower treble is lesser in quantity than the upper midrange, giving the IEM an overall darker and more laid-back tone (even then, it's only slightly dark).

With a higher output impedance, lower treble comes up to level with the upper midrange. I would not call this IEM dark, especially with a higher z-out source. Dare I say, "balanced signature"?

However, the downfall in both cases (low and high OI) is that the treble does not have very good extension in the upper regions, it does not have the airiness and spaciousness that you can find in other models.

Comparisons

I purchased these IEMs for the sake of comparison; I was so impressed with the EN210 that I picked these up in order to directly A/B them.

Comparison to VSONIC GR07 Classic

When switching from the EN210 To the GR07 Classic (hereon referred to as GR07), it is immediately noticeable that the GR07's bass has a bit more impact and slam, while not necessarily having more quantity. The GR07's bass also has more natural, dynamic texture. The EN210's midrange is more resolving, vocals have greater speech intelligibility and clarity than the GR07. Female vocals sound far better on the EN210 than the GR07. The GR07's mids also have a more intimate staging with a smaller sense of size. The GR07 has a more extended, sparkly treble region -- with a higher output impedance, the EN210 comes closer to being on the GR07's level but still sits slightly behind.

If you have ~$100 and are deciding between the two, it would ultimately be determined by user preference. If your desired sound involves a more impactful bass with extended treble while still being fairly balanced overall, the GR07 takes the cake. However if you value a forward and clear midrange while still having solid bass and decent treble, I would go with the EARNiNE EN210.

Comparison to Campfire Audio ORION

The Campfire Audio Orion is a single full-range balanced armature IEM. Something that both the EN210 and Orion have in common is that their sound signatures have noticeably variation depending on the output impedance of the source. A higher output impedance will make both IEMs brighter and less laid-back. I find the Orion to vary at more 'extreme' levels than the EN210. The Orion is much more sensitive than the EN210 and requires less ticks on my LG V20 to reach listening volume.

At low impedance (<1 ohms): The Orion has a very full-bodied and warm signature, significantly more laid back in the treble region. The bass is slightly wooly, though it is ample in quantity. The EN210's bass is a little quicker in comparison. Orion's lower midrange is fuller and thicker than the EN210, and the EN210 presents vocals much cleaner than the Orion. Upper midrange on the Orion is less vibrant than the EN210, vocals sound a bit more veiled and less engaging. The EN210 has greater treble extension and sparkle than the Orion. However, the overall presentation on the Orion has a more diffused, enveloping feel as if the music surrounds you in a circle (whereas the EN210 sounds more left-right stereo presentation).

At a higher impedance (~4.5ohm): The Orion loses a lot of its bass presence at a higher impedance (nearly nonexistent). It becomes feathery in impact (very quick but light), midbass is much more audible than any subbass. The EN210 retains ample bass impact and extension, though now it sounds somewhat slower than the Orion in speed. Orion's midrange becomes much more engaging and less thick/mushy, as lower mids are decreased in quantity and presence is bumped up a notch. Te same goes for the EN210 -- though the EN210's upper midrange was already competent, lower midrange is slightly decreased with higher impedance, rendering an even cleaner presentation. Orion has a more correct vocal timbre with this output impedance, while the EN210 has a 'plasticky' feel to it. Lower treble is also more sparkly on both IEMs with higher impedance, but both still don't have much air or extension past 10khz.

In terms of frequency response, both shift similarly with impedance but the EN210 has less drastic variance and is superior from the get-go, with improved extension in both extremes. The Orion takes the lead in more abstract sound properties, such as sound stage and coherence. Soundwise I would place the EN210 above the CA Orion (regardless of price!), but Campfire Audio's package feels more complete overall.


Conclusion

The EN210 genuinely surprised me -- not many IEMs I've had the opportunity to sample, let alone at this price range (~$100) have had vocals this refined. As a dual balanced-armature IEM with an undoubtedly entry level price, I was expected something a bit more raw and unruly by nature, but EARNiNE was anything but that.

The EN210 is built fairly well (though with fixed cables), and looks/fits great. Soundwise, it proves itself extremely competent with a professional and mature tuning. A low output impedance renders a warm and slightly laid-back sound signature that can take all genres and tackle them with ease. With a high output impedance, the EN210 is exquisitely balanced and took me by surprise. It easily competes with any of its similarly-priced peers, and even many above. Its ultimate downfall is a weak treble extension, taking away any major sense of air or sparkle.

On first listen, I knew it sounded pretty good for a warm and laid-back listen. But it didn't truly impress me until I paired it with a higher output impedance, the sound is not as laid-back and vocals/snare drums come to life. If you are finding the EN210 to be too laid-back, try a different (higher OI) source, it may take you by surprise how much it changes.

At its asking price, I would undoubtedly recommend the EARNiNE EN210 for its sound alone. If you're interested in giving it a go, feel free to email TSST at

tsst@tsst.co.kr

Sources used in this test were LG V20 with/without UE Buffer jack (low/high OI), and OnePlus One (high OI).

The ENOD Mini Ring was provided to me for review by Cherry from J&L Shop, who contacted me through Head-Fi.org private message. All opinions are my own and I will attempt to be as fair as possible in my review. They are available for purchase from J&L Shop on Amazon for $79.99.

http://amzn.to/2uLcbca

Keep in mind that audio is highly subjective, and I may hear things differently from another reviewer.

INTRODUCTION

The ENOD Mini Ring is a pair of true-wireless bluetooth IEMs, meaning there is no cable whatsoever. Prior to the Mini Ring, I've never written a review for a Bluetooth IEM. As this is my first time evaluating a bluetooth IEM, the standards must be set for the product prior to reviewing -- since J&L contacted me through Head-Fi.org, it will be held to the same standard I hold for reviewing other products. I expect quality sound for the price, especially with the recent insurgence and uprising of high-value entry level IEMs.

I'll be gauging my opinion on various articles:

- Bluetooth connection and functionality
- Build quality & design
- Sound quality
- Value

The packaging of the Mini Ring is fairly compact and makes good use of its space. It doesn't feel too premium or luxurious, but the box is sturdy and protects its contents well.

The packaging opens up by a magnetic flap, revealing the IEMs and its wireless charging case inside. After a straightforward unboxing, we can find that the Mini Ring comes with the following accessories:

- IEMs
- Charging / carrying case
- Charge cable
- 3 pairs of tips, S/M/L



FUNCTIONALITY

Taking the IEMs out of the case will power them on, which is a fairly quick and efficient way to manage its power. Putting it back into the case will turn them off. Of course, manually turning them on and off can be done by holding the button on each IEM.

Note: Since they are truly wireless, they are virtually two separate bluetooth devices that must pair to one another. In order to get sound out of both channels, you have to turn them BOTH on -- so if you manually turn them on and off by holding the button on each earpiece, you need to turn both the left and right earpiece on separately (hold left earpiece button, hold right earpiece button).

Upon turning an earpiece on, a voice will state "Power on: left channel" or "Power on: right channel". They will connect to each other automatically, and another voice prompt will notify of this. At this point, I connected the device to my LG V20 via bluetooth. The left channel will state that the second device is connected (first device being the right earpiece). I can only assume that the LEFT earpiece is the primary channel.

One thing to note is that the button on each earpiece does the exact same thing. They either pause/play the music or are used to answer phone calls. Since this is a review for Head-Fi.org, I will not be focusing on the phone call quality too much. However, people have mentioned that the call quality is fine using the Mini Ring's microphone. Answering calls can be done with the press of any side's button, and can be ended in the same fashion -- call audio goes to the left channel only.

I was able to distance myself from the phone in my bedroom throughout the house without any connection dropping. However, with my phone set in the garage and walking around the house, the connection would drop at various distances. A weak connection causes the sound to become imbalanced towards one channel, or to drop altogether.

There are lights on the earpieces, but I find them of no significant functionality to be mentioned.

DESIGN



The charging case is compact and well designed, it looks good and functions well. Placing the IEMs in proximity of their charging ports revealed that the slots are magnetized, and they pull the earphones into their charging positions securely. It appears that the left and right earpieces can go into either charging slot without discrimination.

Note: The charging slots are big enough to charge the IEMs even when different, larger tips are fitted onto the Mini Rings.

The Mini Ring is fairly comfortable to wear. It's not the smallest or the biggest, but sits fairly contently in my ear. The body is made entirely of plastic. The faceplate side being a lightly glittered grey, while the underside being a matte black plastic featuring the L/R markings and charging contact points.



Fit is rather comfortable, but in all honesty not too secure. I don't think it would fall out from general use, but they likely wouldn't stay put if I were to go on a run.

Note: One thing that came up often is that with readjusting the fit of the IEM in the ear, it is very easy to accidentally press the pause/play button. This would pause and play the music often, which was a bit of an annoyance but nothing too significant.

SOUND



The ENOD Mini Ring has a bass-favored, warm and gentle w-curve. Bass is massive, deep, and incredibly rumbly. Midrange is not noticeably recessed, and a gentle upper mid-range boost gives a mild sense of clarity. It really really reminds me of the Oriveti Basic. A very notable aspect of the sound is an obscenely large, emphasised stage -- sound comes from all directions, with vague positional cues.

BASS

The ENOD Mini Ring's bass is no doubt the most noticeable aspect of its tuning. The bass is tuned with a very dramatic boost, extending deeply into the sub-bass regions. It rumbles incredibly hard and punches well above average. It has a somewhat creamy texture to it; slightly smoothed over and slow, but not overly loose or boomy. I've noticed that bass feels like it gently envelopes the rest of the frequency response -- not overpowering, but somewhat looming in the surroundings of the entire track. If you're a basshead, you might find bluetooth convenience and thick, bassy pleasure in the Mini Ring. But for those who prefer a more mild, neutral, or even natural response, the Mini Ring can get a bit fatiguing on the ears due to the enhanced sub-mid bass response. I personally think a less emphasized bass response would make the Mini Ring an incredibly overall tuning.

MIDRANGE

The midrange of the Mini Ring is not a complete disappointment, which is generally the fatal flaw of a majority of entry level frequency responses. It doesn't sound recessed, mainly a product of the mildly boosted upper midrange combined with the fairly neutral treble tuning. It is overall warm and slightly darkened (not to the point of being veiled). To get an idea of how "laid back" the upper midrange is, I would say it is comparable to the likes of the HD650 (in tuning, but not in quantity/forwardness/timbre). It's not the weakness of the ENOD Mini Ring, it doesn't bring the sound down and is not the weakest link in its tuning. However, if your primary focus is to find a delicious, perfect midrange, look elsewhere -- due to the emphasized bass, the midrange does not sound too clean or isolated from the track. It tends to be a bit blurry in response and meld itself into the surroundings.

TREBLE

Treble is tuned safely, it falls in line with the upper midrange -- neither too emphasized or too dark / recessed. It extends fairly well, but due to its laid-back nature doesn't sound very airy. Technicality is not its strong feat; a combination of its blurry imaging and relaxed treble can sometimes make small details fall behind and get lost in the mix. There is no substantial quality of the treble that stands out to me.


CONCLUSION




> Bluetooth connection and functionality (4 / 5) - 10%
Not very many features, lack of volume control via bluetooth which IMO is important. Bluetooth connection is perfectly fine!

> Build quality & design (4.2 / 5) - 20%
Build quality is fine, design is generic (there are several other products sporting the same shape and design overall). Control button is easily pressed unintentionally.

> Sound quality (3.6 / 5) - 50%
Overly boosted bass, but definitely an enjoyable listen for bassheads. Midrange is not too recessed, and treble is safely tuned. Very vague imaging with massive staging.

> Value (4 / 5) - 20%
For a $79 IEM, this isn't bad, but by no means does it sonically stand out among its competition. The Oriveti Basic shares a similar sound profile and sounds better in most aspects, with a major advantage in actual imaging. However, due to its bluetooth and fully wireless nature along with its strong connection and sweatproof features, the ENOD Mini Ring is a fair value in its own rite.

OVERALL: 3.8 / 5

Kinera H3: Impressive Clarity and Impact

Overall: 3.9/5

First and foremost, I'd like to thank Penon Audio for reaching out to me and sending me a review unit of the Kinera H3. I am not associated with Penon Audio in any other way, and these thoughts are my own only -- keep in mind that my review will mostly be subjective, as we all hear things differently. I will do my best to give the H3 a fair and honest review, as well as give some comparisons to IEMs I have/have owned.

The Kinera H3 is available for $99 from the awesome people down at Penon Audio, at this link here.




Please remember at all times that these are my subjective judgements of the IEM's sound, and I may hear things differently or prefer things that you may not. I will post measurements for the H3 as well.

The recent but growing onset of multi-driver audiophile IEMs at a lower price bracket has certainly been the source of many discussions fueled by hype and excitement, though a number of them prove to be somewhat exaggerated and an overall letdown. On the bright side, there have been quite a few gems that manage to prove themselves to the masses.

I used to hop on hype trains often, avoiding spending extra in hopes that I'd fine a "giant killer". Unfortunately, many times I have ended up disappointed and sometimes even empty-handed. I hope my review on the H3 can help some of you decide whether the $99 price tag will land you a reliable and worthwhile set of IEMs.

Packaging

The packaging is a textured carton, opening with a magnetic flap. It looks fairly simple and elegant, the typography and design of the cover print looks well done and professional.



Accessories

The box includes two adapters -- both rather ordinary, being a flight/airplane adapter and a 3.5mm to 6.35mm adapter (1/8" to 1/4").

More importantly, you'll find a fairly decent to large sized carrying case in black with the Kinera logo. The zipper is smooth and easy to use; the interior is roomy and has a somewhat soft felt lining. One side of the case has a small mesh pocket, fair for carrying spare tips or cable (or whatever else you may have).

The case includes the earphones themselves, as well as 3 tips in S/M/L sizing. They look similar to the Sony hybrid tips and stay on the nozzle of the IEM fairly well. They are easy to get a seal with and feel above average in quality.



Build & Design

The Kinera H3 has a "custom-made universal" shell, which is shaped to fit many ears snugly and securely, all while maintaining a high level of comfort. I've had custom in-ears before, as well as one or two IEMs with similar design -- for example, the KZ ZS3 and iBasso IT03 both have cymba protrusions and a deep fitting nozzle.

Shell Quality

The H3's shell quality looks fairly good, though not quite as crystalline / transparent when compared to an acrylic-poured IEM. My left monitor is quite transparent, while my right monitor is slightly fogged and smudged internally, blocking vision of the drivers quite a bit. Penon Audio sent me the H3 in blue variation -- the color is nice and uniform, while being nice to look at.

The faceplate is an opaque black embedded horizontally with a gold, reflective Kinera logo. I noticed a large white strip between the black faceplate and the blue shell, as well as small white bits on the other end of the faceplate. The other monitor's faceplate doesn't have any detectable issues.



The nozzle is simple and does not have a notch to securely keep the tips in place, which may be an issue depending on the tips you plan to use. I can say that the included stock tips feel pretty secure and it should be unlikely that they will be sliding off accidentally. Regardless of the fogging and white uncolored bits of the faceplate, the shell feels sturdy and should not fail from ordinary use. There are no rough sections or unexpected bumps, it seems smooth all around.



Fit and Comfort

This smoothness of the shell lends to its impressive levels of comfort, even in slightly smaller ears such as mine. Prior, I've found "custom-like" universals to be a bit large for me such as the iBasso IT03 and Aurisonics line -- those were too large and uncomfortable for me to wear after a short period of time. I don't have any of those issues with the Kinera H3.

It feels secure and there's not much chance of it falling out. I can wear it for hours without discomfort.



Cable

The cable is hands-down the nicest cable I've used in an entry-level audiophile IEM. It's very soft and supple -- this lends to it's great comfort as well as surprisingly quiet microphonics. The ear guides are not memory wire, but simply formed to wrap around the back of the ear. Very lightweight and comfortable. It's a simple 4-core twist braid, sleeved in dark bronze. The two-pin connectors are clear and look of good quality. Y-splitter is of top quality, being some sort of clear-frosted rubberized TPU. It feels durable and won't get in the way. The 3.5mm jack is wrapped in an aluminum sleeve that is surprisingly light, with proper strain relief -- however, I find right-angle jacks to be more durable and practical than the straight-jack present on the cable.



Sound

The sound of the Kinera H3 is typically v-shaped with a medium depth -- the bass is emphasized, lower midrange dips and rises into the upper midrange, and various treble emphasis gives path to good clarity.

Here is a measurement of the Kinera H3. This is measured using a silicone coupler + Dayton IMM06, there is a slight 2.2k notch that shouldn't be there but I'm not bothered enough to fix it. It measures similarly to Crinacle's measurements.



Bass

The bass presentation of the H3 is very enjoyable, regardless of its clear emphasis. It's slightly above average in terms of tightness and speed, while still being able to sound natural. The impact and rumble of the notes is impressive, it can definitely pack a whallop without being too overwhelming or interfering with the midrange too much. Subbass extends deeply as far as music generally goes, so I don't feel like I'm missing anything in the lower registers. Quantity wise, the H3's bass sits well above neutral, but not quite pushing into basshead territory. It can sometimes sound boomy and overly rumbly, maybe contributing to fatigue in long term listening.

Midrange

The midrange of the Kinera H3 is its weakest point in my opinion -- this would be the factor that would determine whether or not this IEM works well for the listener. The lower-to-middle midrange is recessed in comparison to its surroundings. The upper midrange is quite forward (typical of many tunings to give clarity to vocals). However, vocal timbre is just noticeably strange, in my opinion -- vocals sound thin and restrained, as if they were being choked out. This vocal recession is much more noticeable here on the H3 than other IEMs I've tried in similar price range, such as the TFZ King and Series 4. Additionally, any sibilance or similar upper midrange baddies present themselves sometimes but not consistently, depending on the singer's vocal range. It overall is a bit fatiguing, though demonstrating impressive if not exaggerated upper midrange detail.

Treble

The treble is possibly the star of the show here. The treble is very detailed and comes with striking clarity. In fact, this was the first thing I noted about the H3's sound -- it has a good sense of air and decent sparkle for its price bracket. I find that it pairs well to create a decent sense of space horizontally, giving good depth in variation of distance from your head.

Conclusion

The Kinera H3 is rather impressive in its own ways for the price, being exceptional clarity, fun bass presentation, and sporting a very premium cable. However, it is not without its flaws in its midrange, which one may see as drastic or might not even care enough to note -- it's undoubtedly some variation of a v-shaped IEM, and whether this aligns to your tastes or not is up to you. Build quality should last a long time paired with its removable cable, and accessories are ample but just the necessities.

10% - Packaging & Accessories: 3.75 / 5 - nicely packaged, but just the necessities in accessories

20% - Build Quality & Design: 4.5 / 5 - shell quality is decent to good with minor inconsistencies, but cable is so darn good. comfort is also great

50% - Sound Impressions: 3.3 / 5 - v-shaped sound with clear treble and strong bass, marred with tonally-funky midrange

20% Value: 4.1 / 5 - impressive overall package for the price, but IMO not an "all-aboard the hype train" IEM

Overall: 3.9 / 5

TFZ Series 4: Improving...

Overall: 4.5/5 stars

I've been a fan of the TFZ IEMs for a while now, and I was ecstatic when Penon Audio reached out to me with the TFZ Series 4 IEM for review. So big thanks to Penon -- I am in no way associated with Penon Audio and this review will be my own thoughts. This will be concise and to the point, I will try to be as forward as possible with my thoughts and avoid unnecessary padding/fluff. Please understand that hearing is subjective and I am only describing how the Series 4 sounds to my ears. I will include a set of frequency response measurements in case some are objectivists and like that stuff.



The TFZ Series 4 was a surprise, as the "Series" lineup hadn't been visited for a while. The Series 5 impressed me, and was no longer the TFZ's featured products after the introduction of several other lines such as the Balance and Exlclusive series. The King then proved TFZ's ability to create enjoyable, technically capable IEMs at a relatively low price. So when a new release from TFZ sporting the older "Series" moniker, while also being a lower number than the previous (4 versus 5) was unveiled, I was instantly curious.

Packaging and IEM Design



The Series 4 is packaged in a box similar to that of the exclusive series -- a thick oblong, matte black box, printed in reflective silver text. The box is compact and makes good use of it's available space, as many value IEMs nowadays seem to spend a lot of time on a large box with over-the-top presentation. At the same time, it looks good and works well; I have no complaints.

Accessories

Included with the Series 4 is the familiar "leather" carrying case branded with a silver TFZ Logo (black bag for black Series 4, white bag for blue Series 4). Additionally, there are 6 pairs of silicone tips included excluding the tips attached to the IEM (7 total). There are three wide-bored tips in S/M/L sizing, as well as three narrow-bored tips. The tip attached to the IEM by default is the wide-bored medium tip. There is a shirt clip for the cable included.

I personally would prefer to ditch the carrying bag and opt for an actual carrying case instead.



The IEM itself is shaped similarly to the previous Series IEMs, as well as the Exclusive King -- it's on the larger side of things, but the smooth curves of the shell prove to be very comfortable for me. The metal faceplates are engraved with the Series 4 title as well as company name. Similar to the King, the weight of the IEMs is somewhat on the heavier side due to the metal plates. I personally don't find the weight too bothersome, but it can certainly be a deal breaker for a few people out there. I am a fan of the shell quality, as it feels very thick and sturdy.

The 2-pin jack protrudes slightly from the shell of the IEM, though not enough to be an issue. The cable slides in with a tad amount of resistance, not too much but bordering too little -- I don't think they will come detached from the cable unintentionally.

Cable

Thankfully, TFZ has since made a majority if not all of their IEMs compatible with a 2-pin detachable cable. This is a highly-sought after feature that not only gives reassurance to the owner, but also sets it above many of it's competitors in a similar price bracket.



The cable itself is decent. The wire material is soft and lenient, coated in dark-brown bronze sleeving and braided with 4 cores. However, I don't really like the detailing on the cable components. The TFZ y-splitter is a bit larger than necessary. The 3.5mm connector has an obscenely large diameter and doesn't fit through many phone cases I've tested. The result is a cable with good material, but held back by its flashy appearance and resulting impracticality. There is no chin slider.

Sound Impressions

At last -- this is the first TFZ product I've heard that truly, objectively, and subjectively does NOT have significantly boosted bass. The overall characteristic of the TFZ 4's sound is summarized by a linear and natural bass, a moderately to heavily boosted upper-midrange, and a decently-extended treble with a slight lack of clarity.

-

Here is a frequency response measurement of the Series 4. This is recorded on an IMM-6 with a silicone tube -- the primary difference from crinacle's measurements is that mine has a slight notch at 2.3kHz that I'm not bothered enough to fix.



Bass

With a more linear-leaning presentation to the bass, the TFZ Series 4 is possibly the most faithful tuning yet brought forth in TFZ's lineup. Subbass has solid extension and rumble, it reaches to the depths of my hearing and doesn't feel anemic or weak. Midbass is very controlled and relatively natural in attack / decay. I don't find quantity lacking at all. A majority of bassheads will not be pleased with the quantity of the TFZ 4's bass. I think what impresses me most about the bass presentation of the Series 4 is the overall control and maturity of its tuning ... it is a nice change to see TFZ moving towards this type of sound signature in contrast to their previous IEMs which have mostly been some variation of the same curve (v-shaped).

Midrange

The midrange follows the previous, well-known TFZ Series tuning. The lower midrange sits relatively in line (no longer recessed per se due to the less exaggerated bass), while the upper midrange is boosted quite a bit. This works out quite well for female vocals and some male vocals, as it tends to make the higher vocal registers more musical and gives them a desirable sense of bite and clarity (though occasionally shouty). However, this is not without its drawbacks in the Series 4's case. I don't find the midrange recessed. However, the lower midrange can sometimes feel hollow, resulting in a thinner, slightly papery / nasal timbre (though it is definitely less of an issue here, than it was on the TFZ King). Thankfully, sibilance is less of a problem on the TFZ Series 4 when compared to the previous King and revised Series 5, though not completely eliminated... Midrange resolution is good and it shares its technical ability with the TFZ King.

Treble

It took me a while to pinpoint why some instruments came off as a bit blunt or 'blurry' when the upper midrange was easily boosted, but it turns out the issue is with the lower treble. It has fair extension and respectable air. However, there is a lower treble scoop out that takes away from the overall IEM's clarity. Small details and laid-back details in mixes can sometimes feel lost, as well as peaks of high frequency instruments can feel a bit unnatural in their presentation as a result.


Brief Comparisons

I'm going to compare the Series 4 briefly to two relevant IEMs that are currently trending.

TFZ King

The Series 4 does not have that immediate "wow" factor that the TFZ King had, as the King demonstrated more capable and obvious 3-dimensional imaging. However, it does remain competent in this field as instruments have a decent directional placement. The Series 4 sounds a bit wider horizontally, but compressed in the axial forward-backwards directions; in this case the TFZ King did not immediately sound restrained while it is more noticeable on the Series 4.

However, I find the more controlled and maturely-tuned bass of the Series 4 to be of high upholding over the Exclusive King in terms of tuning. The King also demonstrates tendency to highlight sibilance and be a bit harsh / hot on some tracks. The Series 4 dials this back a notch, but in turn loses a bit of clarity in the lower treble. Also, the Series 4's midrange feels less choked out and thin compared to the King. The King has noticeably more powerful, exaggerated sub-bass rumble than the Series 4.

In summation, I'd go for the TFZ King if I'm looking for a more v-shaped bassy sound and don't mind extra treble energy that can sometimes border harshness / sibilance. The Series 4 is more maturely tuned, the bass is more controlled and natural with a less choked out midrange, though it sacrifices a tad bit of clarity in exchange.

Kinera H3

The Kinera H3 has come up as a strong budget contender in the past few weeks for good reason. A lot of the appeal comes up from its multi-driver hybrid setup at an appealing price -- however, I find that the TFZ Series 4 competes just fine with the H3, having some advantages and some disadvantages against it.

The H3 has an upper edge in bass tightness as well as treble clarity. The H3's bass is tight, though it sounds a little less natural and more emphasized compared to the Series 4. The H3 also has significantly improved treble clarity over the Series 4, which is its primary downfall. The H3 slightly outresolves the Series 4.

The Series 4 sounds far more natural than the H3. The more neutral bass tuning is less bloated than that of the Kinera H3. The H3 is overall more noticeably v-shaped than the Series 4. TFZ 4's midrange is more natural than that of the Kinera H3 (which consistently sounds a bit sucked out in the lower midrange and suffocated in that regard). Series 4's overall vocal timbre feels more accurate than the Kinera H3, but it is still not completely tonally correct. The Series 4 is also smoother and more tame in the upper midrange, as the H3 tends to highlight sibilance more frequently.

Kinera H3's cable wipes the floor with the Series 4's -- H3 cable is slimmer and more attractive to look at. The splitter is more compact and has a chin slider.

Conclusion

What sets TFZ apart from the competition, in my opinion, is that they have been recently releasing IEMs that seem to improve upon previous models. See -- in this case, I'm torn because Head-Fi.org only allows 4 and 5 star ratings. I think the Series 4 sits in a nice place somewhere in between, similar to the previously reviewed TFZ King.

The Series 4 demonstrates TFZ's ability to not only improve upon their previous models, but also to release a variety of tunings that can be appreciated by many. I find the more tame bass response of the Series 4 as a breath of fresh air, and the tasteful upper-midrange bump to pair quite well with it. If they could slightly fill in the lower treble dip, being the IEM's primary weakness, it would be undoubtedly worth a 5 star review.

10% - Packaging & Accessories: 4 / 5
20% - Build Quality & Design: 4.5 / 5
50% - Sound Impressions: 4.4 / 5
20% Value: 4.5 / 5

Overall: 4.2 / 5

The EN700 Bass was graciously provided to me by Sabrina at SIMGOT for review purposes; I am not affiliated with SIMGOT in any way. The EN700 Bass can be purchased from Amazon.com, and you can visit Simgot's website here.

Presentation

The first thing that stood out to me when handling the EN700 Bass was the luxurious, yet simplistic unboxing experience. There's not much depth to the box contents, but everything is laid out very neatly, and organized in such a way that it just feels good to unwrap. The outer sleeve of the box is matte with a luster applied to the graphic of the earphones and text. Small details, such as cutouts to allow removal of the outer sleeve look great and feel even better to use. The inner box is black and uniquely textured, revealing the beautiful IEMs and the rich brown leather case.



The IEMs are snugly fit into the card stock cutout, wrapped underneath with a SIMGOT branded cable tie and 3.5mm protector. The case includes two sets of tips (total 6 pairs) -- S/M/L of a wide-bore set (treble and mid), and a S/M/L set of narrow-bores (bass). This is really good to see manufacturers include, as they understand the nuances and slight tuning capabilities that the bore of the tip can make. A set of foams may have been nice to include as well, but that is not the case here. There is also a cleaning brush which is a nice accessory to have, especially with the grooves in the grille of the faceplate.



The earphones themselves are entirely metal and cold to the touch, while remaining quite lightweight. Even prior to feeling them, I thought they were one of the most visually pleasing IEM designs I've ever seen, if not the most. Finding that they were CNC aluminum was a very pleasant surprise -- not only does it look premium, but it also feels premium. The anodization is done very well and colored consistently to the point that it could be mistaken for plastic on some colors -- while the cold metal surface confirms otherwise.



The cable is also unique at its price point, a brown 8-core braided uniformly and finely throughout. The color combinations are mature and stylish, and Simgot has definitely done a fantastic job in designing and executing the EN700B. The impressive and attractive design paired with it's premium unboxing experience leave a very good initial impression, which I find simply exceptional for an IEM in the low $100 range. I cannot get enough of the appearance of this IEM. It looks absolutely gorgeous, and I am a huge fan of the design.

BUILD QUALITY

The build quality feels very solid for the EN700b. As previously stated, the body is entirely aluminum, while the grille is accented by stainless steel. Unfortunately, the cable attachment is fixed. The cable does have sufficient strain relief, and is followed by a medium length ear guide. The guides are not made of memory wire and are not reconfigurable! They will generally always return to the initial gradually-curved bent form, which seems comfortable enough. Detachable cables would surely be appreciated at this price, and would make it an even stronger contestant in the ever-growing $100 price range. I have no other qualms with the build quality and do not suspect it would fail anytime soon, but user-replaceable cables grants an appreciated peace of mind to the user.

COMFORT & FIT

As for the comfort of the EN700B, this one is a tossup. The shape is somewhat generic like an egg, and will be a hit-or-miss (as comfort generally is). For my personal experience, the EN700 bass shell is neither comfortable nor uncomfortable. I can definitely feel it in my ears, as the fit is relatively shallow and the body of the shell is often pressed against my ear. I have generally small ears -- earphones like the Aurisonics ASG-line, and the iBasso IT03, prove to be too large for my ears and end up rubbing my ear sore. However, the Campfire Audio line fits me perfectly without issues (feel free to ask for what I've tried and fits and what doesn't). In summation, the fit is not unbearable, but not notably great either.

SOUND

The overall tonality of the EN700 bass is a v-shape, with a clear emphasis on midbass and upper mids. Though it does not perform exceedingly or extravagantly in any one category, it has fair technicalities and a fairly safe / common tuning that attempts to appeal to both consumers and audiophiles. I found that the EN700 bass sounded best with the deepest insertion possible using the smallest wide-bored tips. A shallower insertion with larger tips sounded as if the midbass was bleeding into the lower midrange and sometimes pushing mids out of the way.

BASS

The bass of the EN700 bass is clearly present, given its name. Midbass is given a hefty boost, sounding punchy and full of air. While subbass doesn't reach too deep or rumble at an equal level, it is there. It does not have the meaty rumble to accompany it, that you may find on higher end IEMs. There doesn't appear to be much bleed into the lower mids, though occasional confusion has occurred. The midbass punch will work quite fine for electronic music.

MIDS

As expected of a v-shaped IEMs, the midrange is not the forefront of the show. Vocals are laid back in the lower midrange, while upper mids come back with quite a bit of emphasis. This tends to work very well for female vocals, giving the voices a nice crisp 'bite' at the edge. Electric guitars will have a solid crunch, though they may be quite a bit thinner in body. This upper midrange tuning comes across as clear and detailed, which is surprisingly welcome to this price range. However, in the EN700 bass's case, it also occasionally sounds raw and unrefined -- as if this vocal range demands, screams, for your attention. An additional byproduct of obvious upper mid emphasis is that male vocals tend to sound on the thinner side: curiously not distant, but overshadowed. When combined with the midbass hump, it can sound as if there is a small valley in the lower midrange.

TREBLE

Lower treble continues the carried momentum of the upper midrange -- thankfully, it does not sound overly potent or harsh, though it does near the boundaries as to what some may call bright. Extension definitely feels just slightly above average in comparison to other budget options (namely the Chinese options). Because of this, the overall treble presentation is characterized a bit of brightness and sense of detail, with fair but not outstanding sparkle. Keep in mind, I have yet to hear anything at this price range that truly sparkles and creates a sense of air like some of the more expensive balanced armature options. Not many lower-priced IEMs have the fantastic treble extension that one would hope for.

SOUND SUMMATION

The overall sound quality of the EN700b can be described as above average. "Above average" sound in the highly competitive $100 price bracket might not cut it depending on what you're looking for in an IEM. However, if you're looking to make an impression with a great looking earphone with beautiful design and decent well-rounded sound, I can't think of anything better than the Simgot EN700b's. If you're looking for a specifically tuned, ideal sound bang-for-your-buck, you may be better off looking at other options. While I don't believe any IEMs I've tried are perfect in this price bracket, there are some out there that do certain aspects better.

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Note: SERVICE

SIMGOT is definitely on the right track to making a great product, as the presentation, design, and materials of their product is no doubt one of, if not the best I've seen thus far at this price. However, on the inside, sound leaves a bit to be desired in each category.

On a side note, speaking to their customer service was also an absolute pleasure, as they have a very honest viewpoint on critique and feedback in reviews. They are very personable and easy to speak to, and I'm entirely positive that they will back their product and stand by it. I have no doubt in my mind that when they create a more sonically memorable IEM with their design skillsets, it will and should make waves.

Accessories & Packaging: 5 / 5
Build Quality & Design: 4.6 / 5 (beautiful design, comfort hit or miss)
Sound Impressions: 3.5 / 5
Value for money: 4 / 5

Overall: 3.75 / 5

This unit was graciously provided to me by Penon Audio for review purposes, as I expressed great praise in the TFZ Series 5 several months back. Big ups to them for fast and courteous responses, as well as impressive shipping speeds! They are available for purchase for $99.

I just wanted to add that this review is entirely my own opinion -- my perception of sound can vary differently from yours, or any other reviewer. My sensitivity to treble may be greater or lesser than yours. My preference for sound is a relatively balanced FR with impactful bass, forward upper mids, and an airy extensive treble.

Update; The TFZ Kings have been updated to have removable 2-pin cables and the price remains the same. Bravo! These are exceptional for the price regardless of fixed cables, but now they're made even better.

Introduction

The TFZ King piqued my interest immediately -- I did enjoy the TFZ Series 5 as a bass-oriented fun earphone. However, its downfalls were mainly its less-than-airy treble, as well as what many would call somewhat overbearing bass. I noticed these new Exclusive Kings were listed to be a "balanced and detailed" sound, with new graphene dual drivers. Descriptions straight from the manufacturer should be taken with a grain of salt, so I've been GP'ing these for a few days to report my findings.

The packaging really reminded me of a cologne or perfume. On the inside, you can find a TFZ pamphlet, the earphones, a bag of tips / accessories, and warranty card. Though I do really like the white silicone tips that come with the Kings, the foam tips are an absolute nightmare (more on this in the sound section). Packaging is nothing out of the ordinary, though everything is laid out in an easy to access format.

Underneath the plastic tray you will find the tips (2 foam sets, S/M/L white silicone), ear hooks, and wire clip.



The color this time is a clear turquoise blue shell, completely uniform and free of bubbles. Looks great, though possibly too colorful for some. The faceplate is actually metal now -- it is a matching reflective turquoise, with an iridescent purple ring. The metal faceplate definitely increased the weight from the previous generation. Unfortunately, the cable is still fixed with the same mechanism and design. This time it is encased in silver / clear, braided as a standard 4-core cable. It feels decent, though not the most supple -- time will tell whether it is subject to greening or not.

The jack is large and rectangular, and I have to take my LG V20 out of its case to plug in the TFZ Kings.



SOUND

First impression was that it was brighter and leaner than expected. Considering it shares the same shell as the Series X, I was expecting that bassy, thick sound. Instead, the overall sound feels very upper-mid and low treble oriented, with deep-reaching bass that never overpowers. I wouldn't call the sound too v-shaped either: to my ears, there sounds to be a bit less bass than shown in the graph.



Bass

Bass is slightly faster than your typical dynamic driver -- not balanced armature fast, but above average indeed. It's also not as textured as could be, but still rumbles heavily when called for. One thing I really love is that the bass rarely interferes with anything else in the spectrum, as it feels separated from the midrange (this can't be said for many budget IEMs). E: After a long period of listening, I find that the bass does match the graph above and it does have heavy subbass rumble. It still doesn't overshadow anything else, but can make the lower midrange feel thin and recessed.

Mids

The midrange is solated from the bass, with very little to no bleed. Lower midrange is laid back, counterbalanced by a clearly emphasized upper midrange. Female vocals sound forward and lively, chock full of details and bite. Male vocals don't seem to suffer too greatly. The lower midrange thinness sometimes causes vocals, both male and female, to sound nasally and choked out. The reason the midrange impresses me, though tuned somewhat typically, is that the imaging feels slightly three dimensional. Only two other IEMs I've tried so far have left a significant impression on imaging -- the UM Miracle, and the Andromeda. The TFZ King sort of has this directional feel as well to a lesser extent. Admittedly, it is nowhere near as good as the Miracle / Andromeda in that case, but clearly better than most. There is a slight forward and backward dimension added to the image, which is a definitely cool feeling.

Treble

The treble is divisive. Some may love it for this, and some may rule it out completely. The lower treble is energetic, possibly too strident for those sensitive to this frequency range. If you are sensitive to treble, this is a no-go. But if you're a fan of that borderline tingly, energetic treble, you will dig the sound of the Kings. I can definitely reach sufficient, slightly above normal listening levels without any pain but it can become piercing on higher volumes. However, a benefit of this is that I find these very good, exceptionally good, for low-volume listening. I can hear everything I need to at a lower than average volume, without feeling I'm missing anything -- no detail lost!

I really like these. In fact, I love them. These aren't first impressions either, as my first impressions were actually kind of negative due to the unexpected brightness. For those who joined the drop for $69.99, you are in for a treat (given you can handle mid-high frequencies). The treble on these is much more refined over the TFZ Series 5, and it doesn't sound as muddled / closed in due to the more tame bass response. Call me insane, but I spent a solid hour A/B'ing these with the Campfires the other day and was kind of going insane about it.

With the included white foam tips, the treble is subdued, the midrange is distant and hollow, and bass is not really increased by that much. Absolutely unlistenable -- I'd rather listen to it without tips than with the included foam tips. Campfire foam tips tend to work well on decreasing treble without screwing over the midrange too hard.

This is a true audiophile budget IEM -- no new toy syndrome here. Treble may be too energetic for some, and lower midrange can cause vocals to sound a little thin at times. Bass is not overpowering this time, as it is nicely controlled and tame. Noticeably above average imaging and separation for the price tag.

COMPARISONS

A good comparison to make is to the Pinnacle P1. This is near as good if not better in some ways (and cheaper), to my ears. If you can handle and enjoy the treble of the P1, you also will likely be a fan of these. These have a smidge more low treble though, so keep that in mind. This can sound artificial when coming from the P1. The upper midrange is also boosted, but the P1 has a strange hole in the treble that really toyed with the imaging IMO. Vocals on the King sound a bit clearer, as if a thin veil (meta I know) is lifted. Bass feels more controlled on the King, with about the same quantity if not a bit less. P1 feels to rumble more. soundstage on the P1 is larger, but imaging is hazier and less pinpoint three dimensional.

The Oriveti Basic and TFZ King couldn't be more different. The Basic is very bass-oriented and warm tilted, while the TFZ King is more of a v-shape with solid emphasis on the brighter regions. Both are very good IEMs overall depending on the user's preference. The Basic's subbass is more rumbly and textured than the TFZ King, but can sometimes be overwhelming and sound loose. The King's bass is much tighter and faster. The Basic's midrange sounds more natural and organic, full of warmth. The King's midrange is thinner and more detailed in the upper frequencies, sounding much sharper with female vocals. Treble on the Basic is laid-back and dark, while the King is energetic and sharp. Air is definitely greater on the TFZ Kings.

I spent a bit of time A/B'ing the Campfire Andromeda and TFZ Kings. Though it is a bit embarrassing to say, the tuning is somewhat similar. There's no question that the Campfire Andromeda is superior in nearly all categories, as the detail retrieval, imaging, soundstage, and tonality are all on a higher level. However, the TFZ Kings sound similar on first listen. Bass quantity is more or less the same, while Andromeda's feels a bit deeper-reaching. Midrange notes are thicker and more natural on the Andromedas in comparison to the Kings. However upper midrange on the Kings seems to be slightly more forward and less refined. Both are categorically bright earphones, but the Kings are a bit harsher and more strident on the treble. Andromedas have noticeably more extension and sparkle. Basically, imagine the Kings with thicker midrange, smoother + airier treble, and you basically have a budget Andromeda -- no, it's not an Andromeda killer. But if you like the tuning, this comes somewhat close.

OVERALL

Packaging & Accessories: 4 / 5
Build Quality & Design: 4.2 / 5
Sound Impressions: 4.8 / 5
Value: 4.8 / 5

Overall: 4.7 / 5

I kid you not when I say that this is a great IEM. It has a mature and musical tuning. Bass is never overbearing, and midrange cuts through cleanly underneath a sky of energetic treble. Wonderful low to mid volume listening, no details lost. Only real issue I can think of is the sometimes thin tonality of the midrange. Treble may also be too bright for those sensitive, though whether or not it is an issue varies from individual to individual. Fixed cables are kind of a shame on an otherwise stellar audiophile IEM at an entry-level budget. Update; The TFZ Kings have been updated to have removable 2-pin cables and the price remains the same. Bravo! These are exceptional for the price regardless of fixed cables, but now they're made even better.

The Oriveti BASIC: A dark and inviting entry-level offering into higher level audio

BASIC was provided to me free of charge in exchange for feedback and review -- I am in no way affiliated with Oriveti. I would like to thank Marco for providing me with the opportunity, as it is greatly appreciated. Generally, with my reviews I've gravitated towards writing shorter reviews that have no fluff or unnecessary BS -- I am not going to be using fancy audiophile synonyms to describe the same thing in multiple ways, and will be honest and unbiased in my review.


The Oriveti BASIC is a $99 IEM flaunting features usually found in more expensive earphones, such as MMCX detachable cables, a robust aluminum build, and supposedly audiophile-level sound quality. At its price, these features are already impressive to those who may be looking for higher quality earphones at an affordable price. But of course, above all features, an IEM is not worth buying if it doesn't sound great. In this review, I will cover the following:


The Oriveti BASIC is packaged very nicely, in a matte box with a lustrous print of the IEMs themselves. It definitely exudes quality, and looks surprisingly premium for a $99 IEM. Though it was a bit difficult to slide the cover out (due to pressure, I'm guessing..), the IEMs are securely held by a foam cutout that also serves as a cable wrap. This is reminiscent of Oriveti's more expensive offering, the PRIMACY.



One thing I noticed while removing the IEMs from the foam is that the tips sort of 'fell off' and stayed inside the foam cutout without much effort. After a little bit of examining, I noticed that the tips were not the most secure on the nozzle. This will be discussed further in the design section.



The BASIC comes with a seemingly neoprene-coated semi hard case, in what I believe is the perfect size for a case. wrapping the IEMs around your hand and placing them in the case is a breeze, and there is an additional pocket in the case that can be used to carry an additional cable or accessory. I really do like the look of the case; it feels nice in the hand and the materials are seemingly high quality. The zipper is a vibrant red, embossed with the ORIVETI logo -- it zips smoothly and consistently, with very few (if any) catches. Inside the case, there are plenty of tips to select from as well as a set of ear hooks. Unfortunately, all of the tips have the same bore size.



Accessories that come with the basic are pretty much everything you'd expect, but the quality of the case is above average and it looks great. I cannot think of anything else I'd want in the accessories package other than a set of wide bore tips.



The design of the BASIC does not appear to be anything special -- it looks like a black skittle with detachable cables, though the stem for the connector does feel a bit lengthy. Thankfully, due to this simple and ergonomic design, the BASIC is very comfortable to wear. The insertion is rather shallow, which some may like or dislike. It is very easy to attain a seal with the included tips.

However, one of the immediate issues I noticed when it came to the design was the smaller-than-average nozzle diameter. Even with the included tips, taking the BASIC out of my ear would sometimes dislodge the tip and have it either fall on the ground or stay on the edge of my ear. This happened rarely though, so I don't think it's a very big issue.



The cable on the BASIC is very snug. For the first week of having them, I gave up on taking out the cable because it was a bit of a struggle (I guess I'm weak). This is a good thing, as it is detachable but very secure -- they should not become disconnected accidentally in any case. Oriveti should definitely be commended for the quality of the stock cable. I really think it is one of the better cables that come with IEMs. Many (more expensive) IEMs I've had in the past come with cables that either look cheap, feel cheap, or flat out suck.



The Oriveti cable is none of those: it is a matte textured cable in black rubber, having a bit of grippiness but in no way is it too sticky. It should not be sticking to your clothes or anything too often, though it is a bit more rubbery than other cables which have a smoother and more plasticky surface. For this reason, this 4-core cable does look a bit unique with its matte black braided jacket (a bit more premium in my eyes). On the other hand, the y-split is a simply black shrink-wrap with a black tube as a chin slider. I prefer this over solid plastic splitters as a larger splitter can sometimes get in the way (and cause pain!). Additionally, the Oriveti cable retains VERY little memory. It will straighten with ease, and doesn't tangle very readily. It is supple, soft, and workable without any undesired springiness. A+ in this regard, especially at its price range.

The overall body of the IEM feels very durable. The entire body is shaped from aluminum, with rubber stems branching out towards the MMCX jacks. I feel as if this IEM can take a serious beating! The entry-level price, solid build, as well as soon-to-be-discussed sound signature feel extremely fitting towards a daily-driver type IEM. You can use the BASIC for heavy tasks without the worry of any serious damage (though this is yet to be determined).






Of course, what would an IEM be without a great sounding signature. The Oriveti BASIC's signature is clearly on the darker side of the spectrum. I've concluded that the signature is a gentle downwards slope until the low to mid-treble, in which the FR begins rolling off rather sharply. In terms of quantity, I would say: LOWS >= MIDS > HIGHS. This would definitely be a pleasing (and improved) signature for those coming from consumer earphones such as Beats / Bose / cheaper JVC ergofit IEMs.



The bass on the Oriveti BASIC could be described as the type you could feel -- visceral, and quite musical. It seems to have a slightly loose nature, rumbling very nicely but decaying slowly as well. Now, though it's a bit loose, the bass notes feel clean and very discernible among each other. The sub-bass reaches deep: while the sub bass sounds textured, there is a little wooliness to the sound. The mid bass is elevated slightly, and while not the punchiest, it definitely can deliver an impact depending on your listening volume.

The overall low-frequencies presentation does not exude top-dollar technical capabilities, as one would expect at the price. However, it's a ton of fun -- the BASIC's bass is the type that makes you want to turn up the volume even higher ... higher, and higher. Be careful with them!


Vocals follow suite trailing after the midbass. Due to the loose presentation of the midbass, there is a little bit of bleed into the lower vocal range. It definitely sounds like the lower midrange is a tad pushed forward, while the upper midrange is laid back -- male vocals sound great on the BASIC, while female vocals suffer a bit in exchange. There have been several times and songs where I have debated whether the bass or mids were more forward in the mix, as they seem to be cut pretty close together.

Now, I personally prefer upper mid emphasis. But the result of the BASIC's midrange tuning is so relaxing and non-fatiguing, it is easy to listen to and lets you melt into the music. It has a sort of organic, musical feel. After listening for quite some time, it just sounded so natural and effortless that I could listen for hours on end.



This tends to be a difficult spot for many entry-level IEMs. Treble is definitely one of the more sensitive areas when it comes to preferences between each listener. The BASIC's treble tuning is definitely laid back, making the overall sound on the darker side, I could definitely say that this would be the divisive point for many -- some will dislike the sound signature due to the treble being a tad dark and rolling off early. It is not a detail monster and is not the most technically proficient and producing air / sparkle. It doesn't feel as if I am missing too much from the rolled highs, however.

What I would have liked is the inclusion of a wide-bore tip set. All of the included tips have relatively small bore diameters. I used the BASIC with a set of Campfire tips, which have very wide canals -- this improved the treble by a tad bit, opening it up a little and giving a bit of needed sparkle without being harsh.



On the bright (or not so bright) side, the pushed back treble presentation compliments the bass and midrange. I have found myself turning the volume up and up, just listening to the music and feeling the low notes pummel my eardrums, while rich and inviting vocals sing. It's really a lot of fun, which is why I find the BASIC to be a great transition from consumer signatures. It's a lot cleaner than most popular IEMs on the market aimed towards everyday users. It doesn't really do anything wrong, and there are no major errors or mishaps in the frequency response.

Additionally, the BASIC has a very interesting stage presentation. Though the soundstage isn't very wide or deep, the best way I can describe listening to the BASIC is it feels like I'm at a concert or festival, somewhere in a giant room. There's some sort of reverb to the music that feels huge, while the tactile bass and relaxed highs feel to be coming from far away but reaching over long distances. It's hard to describe, but it's a very enjoyable sound.






At $99, I think the BASIC is one of the better offerings in its price range. Not many IEMs can claim the features that Oriveti does, with its detachable cables, robust build, and safe consumer-friendly sound. Many times I've thought of how great of a gift the BASIC would be to a friend or family member who has been using cheap and bassy IEMs for a majority of their music listening. The reassuring design and build quality work great for this purpose as well -- the BASIC is simply a great daily driver with a fun, easygoing sound signature.

The Fragrant Zither (TFZ) is a company that I am very fond of. I absolutely loved their previous flagship, the TFZ Series 5 and praised it with very high word. It became one of my most recommended IEMs for those who desired a heavy bass impact, tuned for an exciting listen. Upon requesting information on the TFZ Series 7, they reached out to me to graciously provide a sample of their next model, the TFZ Balance 2M. I was ecstatic -- I can say that overall, the B2M has met my expectations for a TFZ Product.

This review will mainly focus on my perception of the sound, as I believe that is what most matters. I can assure you, the unboxing experience was pleasant and definitely contributes to the overall feel of the IEM. It is very pleasing to see companies stepping up their packaging game (P1). However, I will do brief memory comparisons versus other IEMs I've had experience with. I believe sound signature comparisons are important in reviews for people who are hoping to purchase their next IEM, to have a reference as to what it may sound like.




The Balance 2M is a tank. The entire casing is made up of two pieces of very heavy metal. If you hand these to someone unfamiliar with IEMs, they might even think that they are solid pieces of metal rather than hollow casings for earphones. That's how heavy they are! Luckily, the over-the-ear fit pretty much makes them disappear in the ear, so the weight is not too much of a concern. It actually helps exude a feeling of quality to the Balance 2Ms. Apart from the weight, the only concern that some may find is the size of the housing. These things are big -- they are about the same size as the Series 5s. However, I have relatively small ears and they fit perfectly fine, not to mention that they are comfortable.

The cables disconnect and connect via MMCX. In my sample unit, there was a slight QC issue regarding the right MMCX slot not being solidly glued into the housing (opened it myself to fix). The Fragrant Zither acknowledged this and said that they would address the issue with their QC person, so hopefully this isn't an issue in the future. The Balance 2M comes with two cables -- one braided branded by TFZ, and another silvery-white braided cable that has no direct branding. I found myself a big fan of the spare silver cable, as it has memory wires that default to a 'hook' shape to wrap around the ear without issues. The default TFZ cable is definitely a little weird to me, in the regard that its 'memory' has it returning to a STRAIGHT position. Not entirely sure what this was about -- the cable has to be cinched up to your chin to keep the cables over your ears. Oh yeah, there IS a cable cinch!

The case that comes with the IEMs is very big -- you can probably fit any DAP imaginable in there. However, it is very spacious and contains all the accessories for the IEM. The zipper is smooth and never catches, so using the case is actually a pretty pleasant experience.



The bass extends very low -- this is possibly the most notable aspect of the Balance 2M's sound. The sub-bass extension is simply impressive, and rumbles with great thickness without being overly muddy. The tuning seems to focus on this linear bass extension, which is a trait that makes the overall sound relatively warm -- the mid-bass feels to be in line with the sub-bass. While most IEMs will have a large mid-bass hump, and a more rolled off approach to sub-bass, the TFZ Balance 2M feels to have a more flat presentation in the low end. There is still a slight mid-bass emphasis, but just enough to keep the low end from sounding mushy. In other words, the result is an extremely extended sub-bass that rumbles wonderfully, but might not have the mid-bass speed or seclusion that some may desire. The overall bass is still emphasized and in copious amounts, and works well for electronic and hip-hop genres.


The vocals of the Balance 2M are much improved over the TFZ Series 5. They have a presence in the overall frequency response, but they don't really come to the forefront of the sound. The lower mids fall in line cleanly transitioning from the mid-bass, without too much bleeding between the two, which tends to be a big issue in cheaper IEMs with a bassy signature. However, not everything is perfect here -- the very flat presentation of the Balance 2M feels to be a little too linear. The Balance 2's lower mids feel to be in a good spot, but the upper mids don't really have that hump that gives vocals a biting edge. As a result, I found vocals to be a tad bit veiled and dull. Male vocals with warm resonating notes sounded fine, but female vocals didn't have the same energy that the TFZ Series 5 did. On the other hand, the overall mids have a good quantity that lines up well with the rest of the spectrum -- not recessed, but not in the forefront of the signature.



The Balance 2M has a nice presentation of the lower treble. It's never going to be sibilant (also a byproduct of its sloping upper mids), and will never have you cringing from high pitched treble blasts. The treble has a slightly laid-back position, so the signature is conclusively a relaxed sound. I could listen to this IEM for hours without treble fatigue, but this is not without its downsides. Some may desire a more prominent treble peak -- those who love the energy of the TFZ Series 5, the Balance 2M has a bit less. It's a non-fatiguing listen, but also not very engaging. Now, the upper treble. This is where I feel the Balance 2M has its weakest link, similar to the Series 5. The upper treble seems to fall off a cliff, resulting in a 'small', boxed-in sound. The treble isn't as airy as I would like, as it doesn't extend far enough to get those unheard details. So yes, the TFZ Balance 2M has sufficient details and energy in its treble, but it's definitely not a detail monster. It is the type of treble that will envelop you, but it won't really take you for an exciting trip if the music calls for it.



The Balance 2M seems to be a very slightly downward sloping frequency response, characterized mainly by its thick resonating bass and relaxed high notes. It's a a very warm sound, and might have a slight dark veil to the overall sound due to its laid-back upper mids and treble. Once again, vocals are not the primary focus of the sound signature (unfortunately). This is where personal taste kicks in, as I know many people love this type of signature.

I personally enjoy the Balance 2M a lot and think that the original Balance 2 (non-detachable cable) is a fair value at the recent $119 on Massdrop. I think the $70 price difference between the non-detachable and detachable cables is a little steep, but I haven't felt the B2 to really say much on how the build quality is different. The major gripe I have with the Balance 2M is the lack of treble extension, which I really hope is addressed in the B4 and B6. If treble is more extended, this IEM would be more competitive.

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Mee Pinnacle P1: The Pinnacle P1 comes in at the same price range as the TFZ Balance 2M, but the two couldn't sound any more different. The Balance 2M has a much more visceral rumble to the subbass, and a harder midbass punch. However, the P1 has a cleaner low-end and sounds faster in decay. Vocals sound a lot more isolated and separated on the P1, which will make the Balance 2M sound veiled in comparison. The P1 is brighter and more up to par in treble than the Balance 2M (a good thing), and enhances that with a fantastically detailed top-end extension that sounds airier. The Balance 2M's treble feels a bit suffocated in this regard.

TFZ Series 5: These two are similar sounding IEMs at great entry level prices. The S5 has a cleaner mid-bass with similar subbass extension, but can definitely be more punchy than that of the B2M. The B2M has a more linear bass response, so the less emphasized midbass may actually highlight the subbass extension. However, lower mids on the B2M are more 'forward' to the S5 in terms of quantity. Vocals on the S5 sound more detailed and less veiled due to the upper mid hump that is missing on the B2M. Treble is more or less the same in terms of extension, but the S5 does have some cases of sibilance/harshness. If you love the TFZ 5 signature but wanted something more tamed and laid back, this could be a very good choice for you.