Reviews by Zerstorer_GOhren
TINHIFI is taking up an audacious step in releasing new models from their new line-up series, The C series in last quarter of 2022. I have previously done a review of its cheaper companion model, The TINHIFI C2: Mecha Warrior on which that I have some mixed impression about it.
This is TINHIFI C3, this serves as more of an accompaniment to the TINHIFI C2. But the C3 takes a different design philosophy and a slightly different tuning compare to its cheaper-priced sister.
Like its sister, TINHIFI C3 has the transducer set-up which is a single dynamic driver with composite materials consisting of Polyurethane (PU) and Liquid Crystal Polymer (LCP). With these composite materials, this will give a more fluidity on vibrations on drivers to achieve a better transient performance and better dynamic range response. The transducers were encapsulated in a resin-like material in a UIEM-style shell chassis with a carbon-fiber finish faceplate that reminds me of a hypercar. The said resin-like material shell chassis undergoes in a 3D printing moulding process to give a best possible fitting to all ear sizes via software aid.
Another significant feature on C3 was its removable stock cable which is quite unusual within its price range. It is a solid and an yet supple 4-core silver-plated copper wiring cable in a 2-pin connector with a straight, 3.5mm termination plug which in my opinion is of up to the high quality standard.
As for fitting and comfort, with its smooth contour shell design, it perfectly match and rest well into my lug holes without any hint of discomfort and it also has a fairly good passive isolation that block external noises from outside. It is quite balanced when it comes to its weight as you will feel a solid built quality on this set.
The product packaging of TINHIFI C3 is rather simple and pretty basic by all any means. The packaging box is identical to C2 but the difference was the front design which only a model name in a stylistic huge bold font place at the center and small brand logo of TINHIFI at the top-left.
The inclusions are the following:
■ A pair of TINHIFI C3 IEMs
■ A high quality, 4-core pale silver-coloured stock cable.
■ 5 pairs of extra black ear tips in different sizes.
■ Contact card.
■ Instruction manual/ warranty card.
When it comes amplification and scalability on audio sources, TINHIFI C3 is quite versatile on handling power output as it can easily driven even by a decent power output from a smartphone as it can give a better amplitude rating and more dynamic sounding. Putting them in a quality DAC/Amps seems doesn't have any changes at all that might affects the overall sound quality as remains invariable to my lug holes.
As for tonality, it seems that TINHIFI C3 has U-shaped sound profile which has a similar sound curvature target of C2 but more balanced as it has less recession on midrange, a more emphasis on the midbass and more balanced but still noticeable raised upper midrange to presence treble.
Here are some of my observations on sound characteristics in the overall frequency range spectrum.
LOWS/BASS:
Punchy, thumpy and with a good depth level, that's my initial impression on the bass quality of TINHIFI C3. It focuses on mid bass texture than the sub bass as it has a more substantial texture on it.
It has a decent sub bass presence that I can still discerningly hear the reverberations of electronic drums, synthesisers and low tone bass guitars either from synth-pop or old school hip-hop tracks. Because of the mid bass' considerable fair amount of texture, it gives a tad warmer sound in the overall frequency range spectrum. It gives a gravelly growl on bass guitar to have sustaining and earthy sound, a thudding sound on bass kicks and a decent heft and authority on bass-baritone vocals.
MIDRANGE:
The midrange of C3 is rather a tad recess in the overall presentation but it takes pretty-well balanced, ample note weight and transparency that give vocals and instruments a more pristine and uniform sound. Both male and females vocals are benefited on ample texture that it gives an deep, authority and steely on other type of baritones and tenors then on females vocal like contralto has deep, smoky and sweet sound while soprano with high note registry has these rich, vivid and emotive sound.
When it comes to the sound quality on instruments, all classes and types of instruments seem to have an organic tonality but on strings and woodwinds, it has some added brightness on it. Let me start on percussives, snares have this penetrating and sharp sound while Toms have hard, resonant and sonorous sound. Piano has a vibrant and rich tone and Celeste has this shimmering and ethereal sound to give that heavenly vibe. Brass instruments like trumpets and trombones have an intense and brassy sound; it's somewhat overpowering. Then when it comes to woodwind instruments, flutes seem to have this brilliant and silvery sound while saxophones have these lustrous to expressively intense sounding.
HIGHS/TREBLE:
The C3 takes a more balanced approach in tuning the treble region, it has a sufficient brightness to give a crisp, shimmer and ample details on females vocals, cymbals and other mid-treble focus other percussions like glockenspiel and xylophone.
It has an emphasis on upper-mids then quite a some smoothening (probably a dip) on between presence to brilliance treble to give a less airy response on which other reviewers will translate it as roll-off on their vocabulary.
SOUNDSTAGE, IMAGING & TECHNICALITIES:
The sound/speaker stage on C3 is quite interesting as it has an above average on perceive wideness, with good height and a more balanced depth in distance between front and back. In regard of this subject, these proportion gives me a quite sense of spacious spatiality within my headroom.
Imaging is rather a two-dimensional, performing on a typical stereo panning presentation which I can able locate the placements of vocals and instrument. It has a good spacing that it has some gaps of the elements and these elements seems to have its own individual frequency and dynamics within the sonic canvas which gives a good mark on separation and layering.
Coherency-wise, the drivers perform pretty fast and responsive to deliver on such envelop performance on amplitude and modulation of sound.
On resolution capability, it has keen and sharp definition on micro-details as on macro-dynamics have tidy note weight on texture and transparent that it might give an impression to sound on the leaner side. Timbre colour seems on the natural point with just tad of brightness.
PEER COMPARISONS:
KIWI EARS CADENZA
● Both products are quite comparable in any means, from pricing to build quality though Cadenze is a bit cheaper. It also uses a proven and impressive Beryllium-coated dynamic driver on its internals.
● They have taken a similar sound profile which is U-shaped which is quite a norm in last year's profile tuning. Cadenza has warmer and richer tone but it has a less airy treble compare to C3. Its has rather a laid back sound.
● Technicalities-wise, Cadenza has just a mere average average technical performance as it has narrower soundstage, exhibits a mediocre separation and layering quality. It has also blunted definition but it has a more organic sounding on tonal colour.
TINHIFI T2 DLC
● This is a more pricey cousin of TINHIFI C3, It uses the same metal shell casing of the already familiar T2 regular. It uses a DLC drivers as its transducers.
● Both employed a U-shaped sound profile on their tonal aspect. To be honest, they sound both very similar if you don't taking more critical listening on comparing these sets but T2 DLC takes a more balanced and less recess midrange and at the same time, it has a better treble air extension.
● Technicalities-wise, they perform very similar from soundstage to timbre but on nitpicking, it seems the T2 DLC have better detail retrieval and more solid macro-dynamics.
To sum up this review, all I can say that TINHIFI C3 performs fairly well that TINHIFI deliver once again on such a product with good tonal balanced sounding with fairly valid technical performance. It is also noted that TINHIFI seems to take up the current trend of tuning which is U-shaped, Harmanish target curve with just some slight deviations on tuning that was already saturated in the under US$50/£42 price segment as other audio companies were also adopting this kind of tuning on some of their models.
I'm looking forward to other TINHIFI products in the future with different flavours of tuning that will impress me and not to utterly say "Jack of all trades, Master of none" again.
TINHIFI C3 is now currently available on KEEPHIFI, Just click the link below (Guaranteed Non-affiliate link)
◆KEEPHIFI TINHIFI C3◆
And also in LINSOUL too.
◆LINSOUL TINHIFI C3◆
SPECIFICATION:
MODEL: TINHIFI C3
IMPEDANCE: 32Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 10Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
P.S.
I am not affiliated to TINHIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to KEEPHIFI providing this review unit. I truly appreciate their generosity towards me and other reviewers.
Oi! Welcome to my another IEM review and what we have here is from the most popular Chi-fi brand of all time, Knowledge Zenith a.k.a. KZ. We already know KZ on how very influential they are in the current audio market space either you hate them or like them.
As we all know, most of us who started in this audio hobby in the mid 2010s were probably at least owning a set from KZ as our starter pack on our audio enthusiast journey. To think that KZ is now a decade-old company and how they are already well-entrenched in the audio market and established itself as the preeminent leader of the budget IEM market for a long time until to this day.
KZ introduces their latest product, The KZ EDA. KZ EDA is very different compares to all of KZ's previous products as it has included three (3) pairs of shells with different tuning as they probably want their customers to let them experience a different tuning modes on one single package. This actually commendable to them that they approach differently on this one, good job!
The packaging box is quite very minimalist and bare-bones as usual just like their budget segment. It has a small white box with a sleeve with illustration of KZ EDA at the front and basic specification and company address infos at the back.
The contents of the packaging box are the following:
- a pair of EDA "Heavy Bass" IEM (in gold colour with opaque faceplate)
- a pair of EDA "Balanced" IEM (in silver colour with clear faceplate)
- a pair of EDA "Hi-Res" IEM (in silver colour with cyan faceplate.)
- a white, rounded flat stock cable in 3.5mm termination plug
- Extra pair of eartips in different standard sizes.
- Instruction manual.
The shells of KZ EDA are decently good for its price. They are made of polycarbonate plastic with a recently newly developed dynamic driver that were implemented to some of their previous models ( and CCA's too). This new generation of dynamic driver promises a lower distortion rate, a improve on transient performance and better output for its diaphragm attenuation.
The size of the EDA's are of a small scale that it easily fit through my lug holes and it does a decent sealing from external noise sources. The build quality is decent that it you can assure its durability for daily use. Like most of KZ's product, they still uses a QDC-type 2 pin connector for firm and stable connection.
When it comes to pairing on sources, KZ EDAs are definitely easy to drive devices.
Smartphone, tablets and other multimedia devices are sufficient enough to deliver an output to EDA to sound it fuller and good dynamics.
The tonality of KZ EDAs are all V-shape sounding with a slight deviation on some part of the its audio frequency range spectrum of each pair on it.
I'll pointing all the sound characteristics of KZ EDAs based on my perceived observation for a past few days.
This review will be slightly different when its comes to my typical pattern format as I will separate it on each variant of EDAs.
LOWS/BASS:
EDA "Heavy Bass"
To all the EDAs, this is the most bassy one among the trio. It has a solid, good impact and depth that bass heads really want on the low frequency quality, a boomy bass. For its sub bass performance, it has a good depth that I discerningly hear the grumbling especially on bassy and electronic bass elements from some tracks in synthpop, hip-hop and some current modern pop genre. Mid bass is definitely is well-texture as it gives a more growl on a bass guitar, a thunderous sound of a bass kick and a deeper pitch vocals of a bass baritones. Despite of these good quality on its bass, there is a caveat on this one, that apparent bass bleeds that sometimes smudge over the mids that will affect the vocals and some instruments.
EDA "Balanced"
Bass quality on EDA "balanced" has an ample texture, has a fair punchiness and very precise. It is more of a sub bass focus one, as it has more define resounding quality in overall bass region while mid bass has acceptable texture to give a thudding sound of bass kick, a more somber sound on bass guitars and decent deepness of a bass baritone voice. This is actually my preferred bass quality of all three EDAs as it is well-balanced, lessens its mid bass smearing to other frequency range spectrum and cleaner response.
EDA " Hi-Res"
This kind of bass will please reference-neutral lovers, it is tight, clean and precise. Both sub-bass and mid-bass are equally on a leaner texture in general sound signature of this IEM. It is similar to EDA " balanced" in a sub bass quality but the mid bass is a bit too transparent in my liking as it gives a hollow sound on bass kicks, a dull sounding bass guitar ( Au revoir growl and rasping licks, slaps and frets) and a more shallow vocal quality bass baritone. To all the EDAs, EDA "Hi-res" is absolutely the cleanest bass reproduction to all of them.
MIDRANGE:
EDA "Heavy Bass"
Among the EDAs of being V-shape sounding, it has the steepest one as mids are definitely recessed, it has a warmth on it and also a way too linear in my liking that it really affects the quality on vocals especially on female, its too lean, less engaging and subdued. As for instruments, they are less details as violins and guitars has a lack of crisp and detail, Pianos are too rounded and warm sounding and trumpets sounds a bit too dark that its loses it brilliance. I'm a midcentric guy and i find it inadequate both in quantity and quality.
EDA "Balanced"
Despite that I still classify it as V-shape sounding, it has acceptable quality of vocals and instruments. For sure that it has recessed mids but delivers a smooth, cleaner quality and has an ample texture on both male and female vocals. Male vocal has a firmness and authoritative character while female vocals has a mellow and a sense of openness but it has edginess on it. For quality of instruments, percussives like snares has a precise and penetrating sound, strings like violin and guitars, as it gives a sensuous and acceptable lustrous on violin, a crisp and vibrant sound of a guitar and lastly, more lively and bright sound of a piano. This is actually one of the most balanced sounding midrange in a V-shape sounding IEM at under US$30/£25 price range.
EDA "Hi-Res"
Mids on this one definitely leaner, brighter and "glassy". Certainly, it gives a vocal quality on females voices to sound more detail, transparent and more spacious sounding compared to EDA "balanced" but at the expense of a tad grating, scratchy and shrilly that might be overbearing to some treble sensitives. On instruments, it gives a rattling and metallic sounding on snare drums, a more crisp and crystalline sound on guitars,a shrilly and brighter sound on a violin and lastly, a lively and more edgy sound on a piano. Overall, EDA "Hi-res" gives a more gleam on the midrange compared to other EDAs.
HIGHS/TREBLE:
EDA "Heavy Bass"
Due to the steepest V-shape sounding among the three, treble is also prominent sound spectrum in the EDA "Heavy Bass" variant. Upper mid peaks are perceptible on this one as I notice some occurrences of sibilance and jarring especially when I played some sibilant-laden tracks. As for sound on cymbals, it has sufficient shimmer and hi hats "chicky" sounds is natural and accurate but treble airiness is tad average when it comes to extension across the brilliance spectrum.
EDA "Balanced"
It is certainly the smoothest of the EDA variants, peaks upper mids is still noticeable but it has least sibilance and a tone down a bit on being strident. Cymbals' sound still has a sufficient shimmer and an organic presentation on hi hats but like its "heavy bass" counterpart treble extension is a bit underwhelming in my hearing perception.
EDA "Hi-Res"
A Hi-res rating is also identified with an overwhelming reach on treble range (reaching over 40KHz is a standard to rate on such a device as a "Hi-Res" according to JAS). A boosting on upper mids and presence treble give some sense of clarity and bright and that's what KZ was doing on tuning of the EDA "Hi-Res" but there are some cautionary concerns. Sibilance is even observable and even more discordant compare to the " balanced" and "heavy bass" variants of EDA. It gives a more gleam and shimmer on cymbals to sound less natural along with the sound quality on hi-hats. Despite on the added boost upper mids to presence treble, it only gives a miniscule improvement of the treble extension. Overall, the treble presentation on EDA "Hi-res" is bright, sharp and cacophonous that treble-sensitives will have an assured aversion on this kind of tuning but it will give a smile on a face of some treble lovers as it gives more a definition and more clarity on their liking.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
When it regards on the spatiality aspect, it has a decent proportion. It has an average to above average soundstage width, a good height ceiling and an enough depth to give a more immersive experience. Imaging is just average as the presentation of perceived placement of instrumentalist and singer doesn't define well and bit blurry to pinpoint them out. Separation and layering is just a mere average to some instances of a congested and constricted feeling if I listen to more complex tracks with more instrumental elements.
As for resolution capability its has good detail retrieval and clarity especially on a "Hi-res" variant of EDA albeit at the expense of causing an ear fatigue due to a sharper definition and too much transparency.
Coherency-wise, due to its newer generation of dynamic drivers. It is performing very cohesive and resolving due to a faster transients (maybe thin diaphragm on this DD really works on that manner).
PEER COMPARISONS:
BLON 03
(Note: I'll compare it with the "Heavy Bass" variant of EDA*)
- Bass quality is bit bloated and tends to smears more on BLON 03 over EDA*, EDA* has better bass response as it faster transients and a decent bass bleed control.
- Both have a typical v-shaped sound signature. But midrange on EDA* has a tad better resolution and less recess over BLON 03's subpar clarity on vocals and instrument.
- Technical performance wise, EDA* has better staging and somewhat separation while BLON 03 has poor technicalities due to narrow soundstage, a poor separation of instruments and slow bass response
- Shells on BLON 03 is more of a better quality as it is made of metal alloy while EDA* is made of plastic that offers enough durability but fitting issues on BLON 03 is a very problematic and annoying that it takes time just to have a proper fitting.
ND NSK
(Note: I do a comparison with EDA "balanced"**)
- Both have similar tuning but ND NSK is more of a mature one and also more natural sounding one.
- Bass quality are similar as both of them has a faster and punchiness level.
- Mids is better on ND NSK as its more lush, smoother and more textured as male and female vocal delivers a more solid presentation whereas the EDA** is a bit leaner in a presentation and leanings to being a bright midrange presentation.
- Treble wise, both ND NSK and EDA** are trading blows, while upper mids is more satiny on ND NSK as EDA** need some polish on the upper mids but treble extension is a bit better on EDA but NSK is not a slouch here.
- ND NSK stock cable is way better compare to current almost all KZ IEMs (with the exception of KZ ZES).
- Technicalities aspect-wise, ND NSK is a better one due to a wider soundstage and timber quality is more natural.
CCA CRA
(Note: I compare this one with KZ EDA "Hi-Res"***)
- They have some similarities on tonality as both of them are v-shape sounding with that treble emphasis.
- EDA*** has improved treble quality as it is more smoother and refined compared to CCA CRA.
- CRA has slightly have better treble extension than EDA***as it has bit more air.
To sum up my review here, As I concluded on this review, KZ EDA is definitely Knowledge Zenith's one of their finest creation on how they conceptualise to include 3 sets of IEMs unit with different variations of tuning in a single packaging and at very affordable price as they continue to keep pushing on their improvements in the aspect of tuning and quality of their products.
To whom I can recommend these IEMs? I'll undoubtedly recommend these sets to the starters of audio hobby as a good introduction material and at least they will be given an idea on how a "reference-neutral" monitor tuning will sound like as they perceive it as well-detailed, vivid clarity and a very transparent sounding. And KZ EDA (Hi-res) is a good candidate in that category.
Despite being a little nitpicky and a bit critical in my review of this one. This is an easily recommended set given to its imperfections as its price point, a more plain versatile tuning and value for product will outweigh it.
KZ EDA is now available to purchase online and currently at US$31/£25.
SPECIFICATION:
MODEL: KZ EDA
IMPEDANCE: 30Ω
SENSITIVITY: 112.5dB
FREQUENCY RESPONSE: 10Hz – 40KHz
CABLE LENGTH: 1.25M
PIN TYPE: 2-PIN QDC-TYPE CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
Lucretia my Reflection – The Sisters of Mercy **
Suzanne Vega – Luka **
P.S.
I am not affiliated to KNOWLEDGE ZENITH(KZ) nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to thank to Tyvan Lam for providing this review unit, I truly appreciate on his generosity towards me and other reviewers.
Nami means "Wave" in Japanese. The kanji character literally translates it as "Water Skins". The latest CVJ product takes some inspiration from troughs and crests forms of waves from the seas. This is CVJ Nami, this is their latest entry-level hybrid driver IEM with tuning switches. This is currently the cheapest set with modular cable set-up albeit it only includes a standard termination plug. Somehow CVJ takes a right direction on this one.
The CVJ Nami's pair of transducers have a shell chassis made of composite materials like aluminium alloy on its faceplate and polycarbonate plastic on its cavity base. The drivers inside consisting of single dynamic driver and a balance armature driver. The said dynamic driver has a newer type that it has a 10mm, thin magnesium-aluminium alloy as its diaphragm to deliver a very responsive low frequencies with good depth, precise tone, fast transient speed and impact while retaining its tensile strength for long lasting performance. The balanced armature driver is a custom made (probably an E-audio one) to handle the midrange and treble frequencies to have a crisp and detailed sound. Like most current CVJ products, it has toggle switches too for adjusting some parts of sonic frequencies.
It still uses a QDC-type 2-pin connector as its detachable mechanism. But the best implementation of CVJ Nami was the quality of its stock cable. The stock cable is identical to CVJ Freedom's as it is a 4-core, 5N-rated OFC PU (Polyurethane)-insulated copper wires and it has a modular termination plug although it only includes a 3.5mm SE. The cable's quality is quite supple and flexible that it has some resistance to entangling. This is possibly the best stock cable in an IEM product under the US$50 range.
Regarding its fitting and comfort, it seems that it fits well into my lugholes without any issues at all like ear fatigue or any discomfort as I was able to use it for long listening sessions.
As for product packaging, The CVJ Nami is rather basic with its rectangular box having an illustration of the said product at front while some instruction, basic specification and company address at the back. The inclusions are modest in quantity but the modular stock is the equaliser as its selling point.
Here are the following contents inside CVJ Nami's packaging box:
■ a pair of CVJ Nami IEM.
■ stock modular cable.
■ Three (3) pairs of narrow-bored white coloured ear tips in different standard sizes.
■ Tuning pin.
■ Paperwork like instruction manual, Q.C. stub and warranty card.
CVJ Nami is actually an easy to amplified IEM as it scales well on sufficient power output even to decent sources like typical smartphones and tablets. So putting it on a better audio source like Hi-Fi DAC dongles would rather be an optional one if you think that it might have a better sound quality.
Despite the implementation of toggle switches, CVJ Nami sound profile still leaning to a V-shaped tuning as it has more prominent bass, a scooped and neutral midrange and an elevated treble response.
Legend: □ = up, ■ = down
■■ - (1 DD) Subwoofer mode - the most "balanced" sounding setting as it has elevated bass and just an ample upper mids peaks just to sound more organic and dynamic.
□■ - (1 DD + 1 BA) HFE mode - V-shaped but it added some boosts on the presence part and some lift on the brilliance part to add more shimmer and add a modest amount of air.
■□ - (1 DD + 1 BA) EHF High Definition mode - This is the brightest setting as it truly boosted up and raise the presence to the brilliance treble frequency to have a crisper and more gleam for clarity, sparkling and copious amounts of detail.
LOWS/BASS:
Authoritative, punchy and very tactual bass response. The dynamic driver that was implemented on this one truly of a good quality as really performance pretty well.
It has a good sub-bass presence as it deliver a perceivable rumble and resonance from instruments like low-tone bass guitars and synthesisers. Midbass seems to have a more prominent role on the low frequencies as it has more body to give well-textured note weight on bass guitars, bass kick drums, violas and bass-baritone vocals. Bass guitars have a weighty and rasping sound as it roars, same as with violas almost the same characteristic albeit more darker while bass kick drums have sustaining and boomy sound from them. Then on bass-baritone vocals, It has good depth and dark tone to give that gravelly characteristic on both voices of Andrew Eldritch and Peter Steele.
MIDRANGE:
As it recessed as it was intendedly tuned. It has texture and warmth that will be favourable on male vocals and brass instruments. On some settings particularly on + 1 BA, it will add some shimmer to give more energy on female vocals and crisper percussive and string attacks.
■■ - this tuning mode has a warmer sound as it gives a heft, depth and texture on most male vocals and some female voice types. Baritones, tenors and contraltos have that fuller and lush sound to give that deep, rich and brassy tone qualities. Brass instruments like trumpets and trombones have a full and solid tone. It is also apparent that it gives a tad warm sound on string instruments as acoustic guitars have a buttery sound while violins have a lustrous and sweet sound. Percussives like timpani have a booming sound while toms and field drums have a rather rounded and deep sound.
□■ - this setting gives a bit of energy and sense of openness on some vocal types particularly on mezzo-sopranos, countertenors and sopranos. Both mezzo-soprano and countertenors have smooth, fiery and piquant sound especially on the hitting the falsetto register of the latter. Sopranos like dramatic and soubrette have these silkiness to give us that angelic and sensuous vocals. Seemingly that it also added a tad brighter tone on some instruments like strings and woodwinds. On guitars either acoustic or electric have a crisp and loaded with overtones especially when using those wah pedals as I listen to some Jimi Hendrix and Yngwie Malmsteem, while on violins, they have this vibrant and liveliness sound on every stroke of its bowstring. Concert flutes have a clear and brilliant sound from them while clarinets and saxophones have those reedy and lively sounds. On chordophones like pianos and celestas, it gives a bright and vibrant tone on the former while it has a glistening and bell-like sound on the latter.
■□ - this particular setting is the boosted version of □■ and even more energetic that it might be too much to some listeners who are particularly sensitive to this tuning. It will give more airy and shimmer on mezzo-sopranos and sopranos. Lyric and coloratura sopranos are able to deliver that shimmering and gleaming vocals that send us to a euphonic and provocative state. Violins have a more metallic tone while trombones and trumpets have those brighter and shrill sounds from them.
HIGHS/TREBLE:
In all types of tuning settings, CVJ Nami's overall treble responses are definitely elevated even on the single DD mode. It has some boost on the upper mids to give more definition and an onset on the expressive tones of some instruments particularly on percussive and also vocals. The presence range seems to have a clarity and detail while it is noticeable that it has a slope down somewhere on that part that it won't have the strident sound.
□■ - About this toggle setting has significant a tad boost on upper mids, presence and a tad boost on brilliance in the treble region to give a shimmer on cymbals strikes. It has more sparkle and an added treble air.
■□ - This mode evidently boosted all parts of the treble region to give that shimmer and sizzle on cymbal strikes and a shrill and piercing sound on glockenspiel. It even improves the treble air and gives more sparkle on harmonic. Treble sensitives should be aware of this type of tuning on this one too as it might cause discordant and ear fatigue.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
CVJ Nami has a rather average sound/speaker stage dimensions as it has an average to above average width span, a decent height reach and a good depth between front to back. This give a moderate head room within my aural sphere.
On imaging, it just simply has a typical two-dimensional, stereo panning which I was able to locate the placements of instruments and vocals. Separation and layering is decent enough for a hybrid driver set-up IEM as it able to give some spacing on each instruments and vocals but the stacking on each frequency and tonal layering of each instruments and vocals on its sonic canvas are rather rudimentary especially if you play more complex tracks.
Cohesiveness of its hybrid drivers seems to perform very excellent and its fast transient performance to deliver that clarity and detail signifies the full-range capabilities of its dynamic driver. The balanced armature driver is able to keep up with the dynamic driver's performance to deliver an intricate sound reproduction and detail and even more detail.
It also has good resolution capabilities as it is able to give a solid macro-dynamics and a decently capable micro-detail retrieval as it was able to draw out some information of details and nuances from audio tracks.
PEER COMPARISONS:
CVJ FREEDOM:
■ Both sisters are of a hybrid driver design but it has added three more balanced armature drivers. Both IEMs have identical stock cables but it has 2.5mm balanced and 4.4mm balanced termination plugs included inside the box. It is also noted that this set is more expensive.
■ Both sets have similar sound signatures but Freedom has four distinctive sound signatures that makes it more versatile compared to its cheaper sister. The U-shaped setting of Freedom has a more refinement of its overall sound quality as it less recessed midrange and smoother treble response. As for technical performance, it has better imaging, separation and layering as it is able to play more complex tracks with more accuracy to pinpoint the placements of instruments and vocals.
BGVP DN3
■ This is actually an old model from BGVP that was released around 2021. The reason I compare this one with CVJ Nami is due to the same price range and also has hybrid driver set-up. It has a CNC-milled aluminium shell chassis along with a 10mm beryllium-coated dynamic and 1 full range BA inside although it doesn't have a tuning switch as it has only one sonic profile. It has more quantity of inclusions like more choices of ear tips and a IEM pouch but the cable is rather mediocre in quality.
■ As for tonality, DN3 has a more neutral sound as it has a mild-U shaped sound profile. It has tighter bass, less recessed, more transparent and clean midrange but the upper-mids is a bit boosted that it has similar treble response with the ■□ mode yet it has less treble air. As for technical aspect, both sets have similar performance with the exception that micro-detail retrieval which Nami fares better on extracting details and nuances.
To sum up my review, it seems that CVJ is now on the blitzkrieg mode of releasing some interesting sets on a monthly basis as it performs decently on tonal and technical aspects. Since the introduction of the CVJ Mei, it is now their turning point that they finally grasp the circumstances of the current state of portable audio market.
CVJ Nami is able to perform decently on both tonal and technical performance. And probabaly, its main selling point will be the inclusion of a good quality stock cable, this is now the set with the best included stock cable in under US$60/£47 and it is also noted that is a modular one too but it only has a 3.5mm termination.
CVJ Nami is now available on CVJ official stores on Shopee and AliExpress. You can also purchase it on HIFIGO.
★★CVJ NAMI - SHOPEE★★
★★CVJ NAMI - ALIEXPRESS★★
★★CVJ NAMI - HIFIGO★★
Here are my previous reviews of some CVJ products before:
■ CVJ CS8
■ CVJ CSN
■ CVJ MIRROR
■ CVJ CSK
■ CVJ CSE
■ CVJ SHINE
■ CVJ MEI
■ CVJ TXS
■ CVJ FREEDOM
SPECIFICATION:
MODEL: CVJ NAMI
IMPEDANCE: 22Ω
SENSITIVITY: 114dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR
PLUG TYPE: MODULAR 3.5MM,
DRIVER UNIT(S): 1 DYNAMIC DRIVER + 1 BALANCED ARMATURE DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
P.S.
I am not affiliated to CVJ HIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to the CVJ team especially to CVJ LOVE for sending this review unit. I truly appreciate their generosity and trust towards me and other reviewers.
This is my second review article for TINHIFI, and we in audio enthusiast scene already know the reputation of TINHIFI and its contribution in the history of the Chi-Fi movement with their venerable, TINHIFI/TIN AUDIO T2. With their years of experience in audio manufacturing, they are very knowledgeable the current trend in audio scene and decide to release a product that will be more appealing to most listeners.
Presenting TINHIFI C2 Mecha Warrior, TINHIFI's answer to ever-changing, more fiercer competitive product in entry-level segment in the current audio market as the under $100 keeps evolving the quality of tuning might challenge the realm of midrange segment. TINHIFI C2 has a single driver setup and it was housed in a lightweight aviation-grade aluminium CNC milling process to ensures uniformity in quality and structural integrity.
The type of transducer that was in C2 is a 10mm dynamic driver with a hybrid composite diaphragm consisting of Polyurethane (PU) and Liquid Crystal Polymer (LCP) in a dual cavity design. These hybrid composite will deliver a very responsive, more sensitive sound with lower rate of distortion. The CNC-milled aluminium shell chassis takes some inspiration from design cues from Campfire Audio Andromeda then combines it with some design elements inspired from a mecha design. Since the T2 DLC, TINHIFI has changed its preferred type of connector and it was also implemented on C2 , a 0.78mm 2-pin connector.
Fitting-wise, it is quite comfortable and inserts well into my lug holes without any discomfort. The choice of its shell design gives me some uneasy glance due to its outline edges but it proves me wrong, it doesn't hurt my lug holes at all. It has a decent sealing that blocks some noises from the outside surroundings.
As for product packaging, TINHIFI takes rather a more simple and logical inclusions but might be too spartan for its given price. It was packed in a white-coloured square small box with a brand, product model and a mecha illustration at the front, some basic specs at the right side and company address with some QR codes at the rear.
Here are the following inclusions in the box:
■ TINHIFI C2 IEMs
■ SPC parallel wired stock cable with an L-shaped termination plug.
■ 5 pairs of extra black ear tips in different sizes.
■ Contact card
■ Instruction manual/ warranty card
TINHIFI C2 is an easy to drive one that a decent output source will amplify this set very well with good dynamic range and amplitude.
Like the TINHIFI T2 DLC, C2 takes a U-shaped sound signature as it has an emphasis on lows and highs and a bit recessed midrange in the overall frequency range spectrum. It exhibits a bright and crisp tonality that detail retrieval will absolutely love.
LOWS/BASS:
C2 has rather a tighter, penetrating and solid bass response. It has a more sub bass-focus tuning that gives a substantial deep with a perceived rumbling and reverberation on every single bass track that I'm throwing either Synth-pop or old school Hip-hop ones as I clearly hear those synthesisers and electronic drums.
Mid bass somehow has an enough texture that it doesn't sound wobbly and too malleable in my liking. It gives a rumbling and resonant sound on bass kicks, a more rasping and broad sound on bass guitars and sufficient deep and gravelly vocal quality on bass-baritones. All I can say is that the bass register remains clean and well-separated as I don't hear any frequency smudging across the overall sound spectrum.
MIDRANGE:
As expected to a U-shaped sound signature, it is in a tad notch in the overall presentation. It has a balanced texture on both vocals and instrument. It seems that it gives more definition on female vocals than male ones as it has crisp and clarity in it. Females voices in different vocal types and pitch has this regal and silvery feel but I have some fuss about, most vocals even the males have this characteristic that it has some occurrences of being coarse grained and raspy that I find it a bit unrefined in my hearing. Male vocals have this gruffness at the same time resonant sounding.
Regarding instruments, Strings like guitars (acoustic or electric) and violin have this crisp, lingering and vivid sound. Brass like trombones, trumpets and horns have this brassy, intense and metallic sounding. Woodwinds like flute and saxophone has a bright, brilliance and a tad of shrillness on them. Percussive like snares have this clattering and penetrating effect on every strike. Toms and field drums alike seem to have full and sonorous sound while marimba l has this resonant and lustrous sound. Celeste takes a bell-like and glistening to add more that "heaven-like" sound and lastly, the Piano sounds rather bright and vivid like most modern ones which I find a bit exaggerated.
HIGHS/TREBLE:
Treble of TINHIFI C2 is bright, somewhat velvety and with a modest amount of air on it. It does have some noticeable raise and peaks on the frequency response between presence up to brilliance treble region. As I mentioned about the raspiness on vocals. It does exhibit some grainess and a tad of grattiness in general but here's some interesting snippet, the sibilance is well-controlled and smoothen up a bit.
Cymbals have a shimmer and a good amount of sizzle but there are some occasions that it exhibits being splashy but it isn't really a major concern to me at all, just a quibbling matter. Hi-hats seem to have a very distinct sound, a dry and shortened soughing sound. It also has a good amount of air on it to add better harmonics.
SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:
In overall sound field dimensions, soundstage width appears to be above average with its perceived spaciousness, it has good height but depth is an interesting case on this one as I find it variably immersive and can't fathom the perceived distance between front to back.
Imaging performs decently it projects the basic gradual panning from left to right which makes a stereo experience on the C2 very compelling. Separation and layering on this set seems fine as I hear a decent spacing of instruments and vocals then at the same time, a distinctive placement of frequency and dynamics of specific instruments and vocal tone that playing instrumental score track carry it out properly.
Coherency of this set is quite impressive given how fast the drivers of this one perform homogeneously. As for timbre, they are rather on the bright side given how it was tuned.
As for resolution capabilities, due its tuning, it has an edgier definition on micro-details with a solid macro-dynamics as it has a substantial in note weight presentation.
PEER COMPARISONS:
KIWI EARS CADENZA
● They are the closest possible match-up, both are at almost the same price bracket and also the same single DD implementation but transducer tech's are quite different, Cadenza uses a beryllium-coated diaphragm compared to a composite one of the C2.
● They are in the same playing field when it comes to the tonal curve, both have U-shaped sound signatures. Cadenza takes more natural and perhaps a tad warmer to have a "safer" t une due to a laid back nature, it has less shimmer and less air compared to C2 and yet it has a more cleaner presentation.
● Technicalities-wise, Cadenza has a mere average performance, as it has a narrower sound/speaker stage, mediocre separation and layering. Resolution definition is rather blunted but on timbre, Cadenza executes it in a very organic manner.
TRIPOWIN CENCIBLE:
● Another product that is one of the contenders of C2, same single DD set-up but diaphragm is a graphene one, Shell housing is different as Cencible's shell was made of resin.
● Even in tonality, they are strikingly similar, taking a bright U-shaped sound profile. Cencible has more prominent mid bass while C2 is focus in sub bass, both midrange have similar balanced texture, but Cencible has a tad more warmth, vocals are slightly cleaner though it has some instances of being too shouty. Trebles of both products perform similarly as they have both a shimmer and modest amount of air on the brilliance region.
● Technicalities are also similar with exception of separation and layering as Cencible performs this area in a mediocre manner as there are some complex instrumental tracks that Cencible sounds a bit congested and disordered.
TINHIFI seems aggressive recently in releasing products in the entry-level segment. Along with C3 which I will review later and T4 which I don't have right. I am still thinking and trying to process it out why this company took this direction to market their products in a simultaneous manner at the same price bracket which is under US$50/£41.
For sure that TINHIFI C2 will have its supporters and critics on how it was tuned. But for me, C2 is decently tuned with some good technical performance for its asking price but to market it at an already very competitive IEM market, especially on a price category under US$50/£41, C2's appeal to new audio enthusiasts is quite uncertain.
TINHIFI C2 Mecha Warrior is now available in KEEPHIFI, you can check it out HERE (Non-affiliate link).
It is also available at LINSOUL, Just click HERE. (Non-affiliate link)
SPECIFICATION:
MODEL: TINHIFI C2 MECHA WARRIOR
IMPEDANCE: 32Ω
SENSITIVITY: 104dB
FREQUENCY RESPONSE: 10Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm, 4.4mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
P.S.
I am not affiliated to TINHIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to KEEPHIFI for providing this review unit. I truly appreciate their generosity towards me and other reviewers.
This is QKZ X HBB Khan, QKZ's second collaboration project with Chris Ballard a.k.a HBB (Hawaiian Bad Boy) which we all know on the portable audio community who he was and his reputation as a respectable audio reviewer. This is my second product review of a QKZ product but I have owned some QKZ products before as they are quite cheap and sound decent enough for casual listening.
You can check out my review on QKZ X HBB here.
QKZ x HBB Khan is an IEM earphone with dual dynamic driver on its internals. The said dual dynamic drivers are the 10mm driver with LCP diaphragm that handles bass to midrange region and a 7mm driver with the same material on its diaphragm that solely handles the treble part. The internals were housed in a acrylic resin shell chassis with a supporting metal grid to ensure the structural integrity of the device. The shells are actually moulded from the latest generation of DLP-3D printing to make the best possible acoustic chamber design with its exact placement of air vents. The faceplate of each shell has a logo of HBB and a stylised triangular triskelion logo of QKZ. QKZ decided that they implement a QDC-type 2-pin connector on this unit as it also became one of the standard connectors on IEMs in the ultra-budget segment.
Fitting-wise is quite impressive due to the long nozzle that inserts well to my lug holes that its fitting insertion will give a better passive noise isolation. For those listeners who have small ears, they should try to do some tip rolling on this one.
As for product packaging, QKZ Khan seems to have a significant focus on including some decent accessories. The contents are packed in a black-coloured medium-sized box with a cardboard sleeve, the sleeve is where you can check out the product photo, brand logo and product in the front while at the back, it has the FR graph, basic specifications and company address.
Here the following inclusions inside of the box:
■ QKZ x HBB Khan IEMs
■ Black 4-core OFC stock cable with 3.5mm termination plug.
■ White-coloured PVC IEM case.
■ 3 pairs of opaque, narrow-bored ear tips of different standard-sizes.
■ A small commemorative plaque coin bears HBB's logo.
QKZ Khan is quite easy to drive with an impedance rating of 10 ohms which rate this set only requires a decent power output to amplify this set. I've tested this set from my LG phones, USB DAC/Amp dongles and digital audio players and QKZ Khan delivers a considerable amplitude level.
As for tonality, QKZ Khan has a rather U to V-shaped sound signature (in most tracks that I've tested) in which it matches the preferences of the library tracks of HBB which comprises some old school hip-hop, classic rock and pop. Being warmish and fun sounding gives a more analogue-ish and organic sound on those tracks and QKZ Khan have these tonal traits.
Here are some of my observations on its overall sound quality.
LOWS/BASS:
Vigorous! That's my initial impression when I listened to this set. It has a vigorous bass that delivers a good slam, whack and authority. Like almost all HBB collaboration products, bass is the most prominent one as it gives a robust sound on bass-focus instruments.
Sub bass does have that deep reverberating and rumble sound that is quite comparable on a bassy speaker that I've listened to in the past . That delivers a striking guttural sound coming up from low toned bass guitars, synthesisers and electronic drum machines from some tracks that I listen to from my favourite music genres like classic rock, synth-pop and old school hip-hop.
Mid bass has a textured, heft and viscosity that gives a sound definition on bass-centric instruments and deep vocals. Bass guitars really growls on this one as it has this weight and resonant sound, bass drum kick seems to have this thunderous and rumbling sound and bass trumpets have full and resonant sound on either Ska music or orchestral piece. Vocals like bass-baritones appear to have darker, guttural and fuller vocals like Barry White which has that distinct sexy and irresistible one.
Seems like that Khan has a noticeable boominess that gives an apparent warm sound quality but at the same time a tad bass bleeding.
MIDRANGE:
Like all HBB's collaboration tuning, it has a notched midrange response that gives a more distant and less prominent sound on some vocals especially on females and woodwinds instruments and in the overall frequency spectrum. Despite those evident issues, it still exhibits linear, warm and yet smooth characteristics.
With its added warmth, it focuses on the texture of the male vocals rather than female ones. Baritone's vocals have a rich and fuller sound but in some cases it sounds a bit rather a tad mild in my ears similar to the vocal textures in most countertenors singers on which has warmer and soothing sound. Lyrical tenors have a sufficient strength to sound deeply emotive and "heroic" as I listen to some singers in the tenor range like Freddie Mercury (I know, I know he is a baritone…), Paul McCartney and Justin Timberlake. The robust tenor singers like Luciano Pavarotti, Placido Domingo and Andrea Bocelli have a fuller, brassy and rich sound to give an authority and power in our listening experience. Meanwhile on female vocals, it gives more emphasis on contralto singers which have those obvious characteristics are smoky, hefty (for a female vocal pitch) and deep like Tracy Chapman and Toni Braxton. On mezzo-sopranos to sopranos vocal range, The Khan sounds not that enticing on this range as it has the lack of being bright, energetic and detailed as it sounds rather too velvety and musky in my liking.
The sound characteristics of instruments are focused more on percussive and brass ones as they are more pronounced in the overall midrange presentation. Percussives like toms and field drums have a boomy and sonorous sound then snares drums have this palpable dry and hard sound in every hit and strike. Pianos have a rather warmer, rich and velvety sound that reminds me of some antique German pianos. Brass instruments like trombones and trumpets have this fuller, warm and dark sound which gives a more "dramatic and majestic" sound on orchestras. Horn sounds a bit rounded and muffled as it has an inadequacy of being fuller and warmer sound. As for woodwinds, flutes sound more soft, mellow and aspirating as they lack an airy and ethereal sounding while saxophones are rather earthy, plaintive and sombre yet mellow and veiled which are comparable to sound and timbre of bass clarinets. Strings like guitars are rather on warmer and buttery sound as it doesn't give you a crisp and lingering sound that most acoustics guitars are tuned in that aspect while violins have calm and austere sound in my liking as I want a more lively and vibrant sound as it gives a more expressive sound.
To be honest this is not my preferred midrange presentation but if you have similar sound preferences with HBB then this will suit your listening experience well.
HIGHS/TREBLE:
At first impression, it seems that it is dark sounding but when I listen to it carefully, it's rather balanced treble. There is a substantial peak on the upper mids and then a gradual steep within the presence treble region according to my hearing perception that will give a laid-back and smoothness in presentation that treble sensitives will like this tuning positively. There is no hint of sibilance and jarring but it gives a less detail and sounds distant and subdued in my liking.
Cymbals sound rather lustrous and soughing that it has a lack of shimmer and sizzle which give an insufficient air and sparkle on the brilliance region. Hi-hats have shortened dry resonant and buzzing sound as it is natural timbre.
With its safe treble tuning, it has a double-edge sword. For sure that it give you a more pleasant and relaxed casual listening experience but due to its laid back nature, it will not give you that analytical listening experience due to subdued and less detailed sound.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
Definitely not the strongest asset of QKZ Khan as its technical capabilities are rather middling and average that it doesn't have a standout feature.
In Sound/Speaker stage dimensions. It has a relatively average size on wideness, a decent height reach and at least a good depth which gives me an average spatial sense within my headstage.
Imaging capability is sort of a typical 2-D stereo panning that I was able to locate the placement of instruments and vocals but not in the most accurate way. It has a decent separation as the elements have acceptable gaps and spacing. Layering aspects are rather mediocre as it does have an indistinctive order in the sonic canvas on both frequency and dynamics layering that will be more problematic on complex, multi instrumental tracks.
Coherency is quite commendable as there is a sense of cohesive performance of its dual drivers to deliver faster transients and decays.
Resolution capability is rather middling on this one. It has a solid and firm macro-dynamics but on micro-detailing are rather blunted and less sharp definition that it has difficulty on displaying the subtle and nuance elements on the overall sonic frequency spectrum. Timbre is rather on the subdued, organic side of tonality.
PEER COMPARISONS:
I only have a few IEMs with Dual DD set-up and they are older ones.
KZ DQ6S
■ This is somewhat a collaboration project of HBB with KZ but due to some unfortunate circumstances, he distances himself on this one. DQ6S has triple dynamic drivers on its internals in a polycarbonate plastic shell. It also uses a QDC-type 2-pin connector which KZ mostly implemented this kind of shell.
■ Like all HBB's tuning, DQ6S has a warm V-shaped sound signature. It also has well-bodied and authoritative bass, a warm and recessed mids and smooth laidback treble response. DQ6S has a noticeable sibilance and hiss on some sibilant-laden tracks which makes the Khan a bit better on this one.
■ DQ6S have rather average and mundane technical performances from soundstage to layering like the Khan. But it is slightly better in detail retrieval as it has a decent sharper definition to exhibit some nuances and shades on the background of the sonic spectrum.
To end my assessment about the QKZ X HBB Khan, like all HBB's collaborations in the entry-level segment. They all have these characteristics; a warm, fun and inoffensive sounding that will suit better on casual listening rather than for critical listening.
As an audio enthusiast like myself who loves a more neutral, better tonal balanced and very technical IEM, this is certainly not my ideal tuning and technical capability on how I describe its tonality and technical aspects. This set will be more suitable to bassheads and casual listeners who want some improvements from their usual preferred tuning on which I think it more logical to endorse it. If you are looking a more authoritative and impact bass response that gives a lively and vibrant sound in your life then QKZ Khan is absolutely for you.
Here are some reviews of HBB's collaboration sets, you can check them out and compare:
◎ KZ DQ6s (disowned)
◎ QKZ X HBB
You can order the QKZ X HBB Khan at LINSOUL, you can check the link HERE.
SPECIFICATION:
MODEL: QKZ X HBB KHAN
IMPEDANCE: 10Ω
SENSITIVITY: 117dB
FREQUENCY RESPONSE: 20Hz – 39.5KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC TYPE 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (2) DYNAMIC DRIVERS
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
P.S.
I am not affiliated to QKZ AUDIO nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to LINSOUL especially to MS. KAREENA TANG for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.
This IEM is indeed a hidden gem from 2018,a superbly tuned masterpiece for audio enthusiasts out there. A balanced sounding as most online reviewers describe its sound signature,I can say it as a "balanced to neutralish" in my hearing perception.A tight bass ,Clean presentation on mids,separation of instruments has a good spacing, vocals are both natural and well-textured in both male and female.not an even a hint of sibilance.The highs/treble is slightly elevated as it crisp and well-details on brilliance region that gives airyness yet it doesn't sound strident or harsh.The micro-details were delineated.The cymbals sounds natural and doesn't sound splashy as most treble leaning (bright) and V shaped IEMs are susceptible in this kind of characteristic.Imaging is one of the strength of this one for pinpointing accurately the positionings of instruments and the soundstage is wide and spacious and the depth is just average(wishing for more depth.)
Tested in my LG V20 and LG G7 (both normal impedance mode and force aux mode.)
Tracks tested:
Eric Clapton- Tears in Heaven ( DSD128)
Queen- Bohemian Rhapsody (24-bit /96 khz. FLAC)
Sophie B. Hawkins- As I Lay Me Down (16-bit/44 khz FLAC)
David Bowie- A Man Who Sold The World ( 24-bit/192 khz. MQA.FLAC)
Metallica- Motorbreath (24-bit/96 khz FLAC)
Slayer- Raining Blood ( 24-bit/44 khz FLAC)
Mariah Carey- Love Takes Time (16-bit/44 khz FLAC)
Billy Idol- Eyes Without A Face ( 24-bit/96 khz FLAC)
Santana featuring Alex Band - Why Dont You and I (16-bit/44 khz FLAC)
The Eagles- Hotel California (24-bit/44.1 khz MQA.FLAC)
Tested in my LG V20 and LG G7 (both normal impedance mode and force aux mode.)
Tracks tested:
Eric Clapton- Tears in Heaven ( DSD128)
Queen- Bohemian Rhapsody (24-bit /96 khz. FLAC)
Sophie B. Hawkins- As I Lay Me Down (16-bit/44 khz FLAC)
David Bowie- A Man Who Sold The World ( 24-bit/192 khz. MQA.FLAC)
Metallica- Motorbreath (24-bit/96 khz FLAC)
Slayer- Raining Blood ( 24-bit/44 khz FLAC)
Mariah Carey- Love Takes Time (16-bit/44 khz FLAC)
Billy Idol- Eyes Without A Face ( 24-bit/96 khz FLAC)
Santana featuring Alex Band - Why Dont You and I (16-bit/44 khz FLAC)
The Eagles- Hotel California (24-bit/44.1 khz MQA.FLAC)
Attachments
gruiz3
Dude, lg v20. Respect. I still have my old lgs.
Zerstorer_GOhren
Thank you, both of my LGs are still my audio sources.
"Music in the soul can be heard by the universe"
~~Lao Tzu, Chinese philosopher and founder of Taoism
As planar magnetic technology on IEMs keeps evolving since the introduction of Audeze iSine 10 in the mid-2010's, it still has its limitations particularly on power scaling to drive these sets properly. But with the introduction of USB Dongles DACs for smartphones and DAPs with better power delivery on driving these types of IEMs, it also has some development by miniaturisation of its parts to be more compact and requires less power output.
This product I have here at my hand will be the main context of this review and before I introduce its features and sonic qualities, I'll introduce the company who crafted this set. KEFINE is one of the recently established audio companies in Mainland China and its name is a portmanteau of "Ke" which is the name of the proprietor of this company and known to be passionate about music and the also a Hi-Fi enthusiast, and then, on the other word, "Fine" is taken from the word "Refine". The word itself shows a dedication of releasing a well-refined product that will be more appealing for budget-conscious audio enthusiasts out there.
This is KEFINE's inaugural product release, The KEFINE Klanar. The Klanar is one of the latest generation of planar magnetic IEMs in the market and its asking price is one of the affordable out there too. It has CNC-milled aluminium alloy shell which are well-precise on its design ergonomics up to its acoustic chamber for better sound reproduction with some emphasis and masking of certain frequencies. The shells were underwent to anodising process to give matte finish on its surface with a simple embellishment of the KEFINE logo on its faceplate to give a rather minimalist yet classy look and it's overall sizes are rather smaller and slimmer compared to the previous IEMs with similar transducer-type that I have encounter so far.
The planar magnetic drivers that were implemented on this set is a 14.5mm and it was constructed with some components like N55 neodymium magnet and Polyethylene terephthalate (PET) diaphragm for more fuller and potent bass response while maintaining a natural and detail sound on other frequencies.
KEFINE did implement a 2-pin connector on this set that makes it easier to do some cable swapping especially if you want to change the termination plug for balanced output. This set has stock cable of good quality, it has 4-core with two types of wires, OFC litz copper and silver-plated copper litz that were braided for better signal transmission to give a more clear and transparent sound. On its termination plug, it uses a standard 3.5mm SE which was gold-plated for less corrosion and resistant to tear and wear.
Speaking of its product packaging, KEFINE Klanar is rather minimalist on how it was packed and the inclusion are rather enough for this set.
Here are the following contents that are included inside the box of KEFINE Klanar:
■ Pair of KEFINE Klanar
■ Stock cable
■ Canvas fabric zippered IEM case
■ 3 pairs of wide-bored UV ear tips of different standard sizes
■ 3 pairs of narrow-bored silicone ear tips of different standard sizes
Given that this set is a planar magnetic IEM, we will expect that it needs more power output to amplify it properly but to my surprise, this set is a tad easy to amplify from my devices whether it is my LG phones, DAPs or USB DAC dongles. Although, it still needs some power output for more dynamic and vivid sound that a planar IEM should have.
As for its tonality, KEFINE Klanar appears to have a V-shaped sound signature as it has more prominent bass while having a notch yet maintaining a tad warmth and balanced texture on its midrange and just a little bit of emphasis on the treble part of the frequency range while having smooth response.
(Graph was provided by @baskingshark , credits to him for his effort)
LOWS/BASS:
This is the most prominent part of the frequency range of this set; it delivers a punchy, deep and fairly tactual bass response that few planar sets are able to match. Both sub-bass and mid-bass are somehow equally presented on the low frequency spectrum.
Sub-bass of this set has a perceivable physicality of rumbling and reverberations in some tracks like synth-pop and old school hip-hop from certain instruments like synthesisers, low tone bass guitars, drum machines and octabasses. On the mid-bass part, it seems that it has a fairly texture note weight on them but there are some instances that it has some lack of darker tone that make it more consistent but overall, it's a good one for planar sets.
On how it sounds, bass guitars have a rasping and bit dull sound while bass kick drums have thudding and gloomy sound. And then bass-baritone vocals, they have depth and volume though I feel that it's a bit hollow and like I mentioned before, that inherent less darker tone to give that distinctive guttural and heft sound.
MIDRANGE:
Initially, just by analysing its sound profile, the midrange of this set is absolutely recessed on its presentation but in a good way that it maintains a balanced texture, transparency and detail. It gives sufficient note weight on vocals and instruments, although in some instances, I somewhat hear that tad leanness in my opinion.
In vocals, particularly female ones, they somehow sound vivid and sweet as they captivate me. Contraltos have a smoky sound though I am still looking for more lush and richness of their vocals that I'm accustomed with. Mezzo-sopranos have that smooth and "coppery" sound that I really enjoy while sopranos have creamy, light and sweet which suits better with soubrette, lyric and dramatic types of soprano singers, but on coloratura types, it's a bit lack of energetic and shimmer to project those high note extension for vocal passage. Meanwhile on male vocals, it only has enough texture just to give some volume and density and hint of warmth on baritones and tenors. Baritones sounds a bit too smooth and less lush sounding on my ideal timbre on them while tenors have a bit tender on my preferably tone but at least it has some clear and metallic sound that somewhat fare better lighter tenor vocals like leggero and lyric. Countertenors have similar characteristics with mezzo-sopranos but it has some graceful and tender sound from them.
On instruments, it seems that they sound quite natural with good detail and clarity as I myself enjoy listening to instrumental tracks. Strings like guitars and violins, they sound in neutral tone with just a little bit of gleam as guitars sound balanced and tad dry while violins have a sensuous sound with just a hint of metallic on them. As for brass instruments, trumpets have the intense yet stately sounds, horns have metallic and resounding sound, and then on trombones, they have a dramatic and concise sound as I listen to some orchestra or ska tracks. On woodwinds, piccolos have a rather light and graceful sound in contrast on its ideal bright and brilliant tonal colour that it should have, concert flutes have mellow and filigree sound, and last ones are clarinets and saxophones and they sounds mild, velvety and sombre. Percussive instruments especially on snares, tom-toms and field drums, have clear, resonant and venerable sound characteristics respectively. Kettle drums have a mellow and velvety sound and pianos have an even and balanced tone to its encompassing note range.
HIGHS/TREBLE:
This is one of the few exceptional planar sets when it comes to treble response. It is so smooth and well-balanced that it manages to tame down those "planar sheen" characteristics that we usually encountered on IEMs with similar transducer type. It has an accentuated upper mids just to give an ample note attack of percussive and rhythmic instruments and vocal definition and some dips on the presence part of the treble frequency to avoid any harshness or controlling sibilance while maintaining a smooth and pleasant response.
Cymbals have a lustrous and soughing sound while hi-hats have its distinctive chick sound as it has a shortened buzzing sound. Celestas have sweet and mellow sound, while glockenspiels have some glistening and lustrous sound from them. It has an ample sparkle and moderate airy extension that will somehow satisfy some listeners who want treble quality and quantity, and also a safe recommendation to treble-sensitive folks.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
In general, on how I perceived its overall sound field dimensions, The Klanar has an above-average wide span from left to right, good height reach and immersive depth from front to rear as it gives me a fairly moderate head room within my aural sphere.
On stereo imaging, it projects a concave-like presentation of its stereo field where I was able to pinpoint a placement of instruments and singers on its sonic spatiality. It has a good separation of elements while having an adequate definition on its tonal and frequency layers that delivers a more harmonious and cohesive performance.
In terms of coherency, planar magnetic drivers are no doubt very coherent and have a fast transient speed to deliver a crisp and clear sound. Resolution aspects on this set are quite competent in both macro-dynamics and micro-dynamics as it has good homogenous note texture while having decently sharp definition on detail retrieval from an audio track with its detail infos and nuances.
PEER COMPARISONS:
LETSHUOER S12 PRO
■ Like the Klanar, it uses a larger planar magnetic driver and is also encapsulated in a metal alloy shell chassis albeit it's a bit large. It has modular cable and more included accessories on its packaging box.
■ As for tonality, S12 PRO takes a more U-shaped sound signature which makes it more versatile sounding. It has tighter and penetrating bass response, less recessed midrange with crisp and brim with shimmering sound on vocals and instruments, and a brighter, vivid and energetic treble response.
■ On technical capabilities, S12 PRO has a bit of an edge in few aspects, it has a bit wider on its lateral sound field and a sharper detail definition. But it is more prone to "planar sheen" timbre unlike the Klanar which manage to suppress it a bit. Also, it's a bit harder to drive compared to the Klanar.
HIDIZS MP145
■ This is another IEM with a similar driver that has large planar magnetic, although it has an even larger shell with unusual design cues. Like all current generation of Hidizs IEMs, it has a proprietary detachable tuning nozzle for more tuning versatility.
■ As I mentioned regarding its detachable tuning nozzle system on MP145, it offers a variety of sound profiles from a warm V-shaped to bright U-shaped that makes this set more of an all-rounder. It has more punchy and tactile bass response especially red tuning nozzle mode, a warmer and lusher(red tuning filter set-up), even and more balanced texture (rose gold tuning filter set-up), and a tad brighter and energetic (silver tuning filter setup) on its midrange and almost similar smooth treble response with Klanar in red tuning filter set-up or more sparkling and airier brilliance treble on both rose gold and silver tuning filter set-ups.
■ Regarding its technical capabilities, MP145 has similar performance with the Klanar in sound/speaker stage, stereo imaging, separation etc. But MP145 has bit sharper definition on detail retrieval and like Klanar, it has less "planar sheen" timbre.
As I summarise my review on KEFINE Klanar, this sets is indeed a product that truly signifies the development of planar magnetic IEMs within few years as KEFINE was able to deliver a more refined product that will be more budget friendly for audio enthusiasts who wants a good build quality with good tuning and competent technical capabilities. For sure that this type of tuning might not suited to some adherents of neutral and almost uncoloured tuning but its feat on its miniaturise engineering marvel on how a large planar magnetic driver was able to fit on such a compact form factor will make this set even more impressive to hold. If you are looking for an affordable planar IEM, this set is highly recommended to you then.
If you are interested to purchase this set, here's are the following unaffliated links:
AUDIO 46: https://audio46.com/products/kefine-klanar
AMAZON: https://www.amazon.com/dp/B0CKZ71VP3/kefine+klanar/
LINSOUL: https://www.linsoul.com/products/kefine-klanar
HIFIGO: https://hifigo.com/products/kefine-klanar
ALIEXPRESS: https://www.aliexpress.com/store/1103187464?spm=a2g0o.detail.0.0.5e8evTTsvTTsR
m
SPECIFICATION:
MODEL: KEFINE KLANAR
IMPEDANCE: 16Ω
SENSITIVITY: 105dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2m
PIN TYPE: 0.78 2-PIN CONNECTOR
PLUG TYPE: 3.5mm, 4.4mm
DRIVER UNIT(S): (1) PLANAR MAGNETIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to KEFINE nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to Mr. Collin Yang for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.
“Music is like a dream. One that I cannot hear.”
~~ Ludwig Van Beethoven, German pianist and composer during Classical period.
HiBy is an audio company that is well-renowned among audio enthusiasts around the globe for the quality of their products as they release some of the best DAPs in the market. They released recently a midrange one which was HIBY R6 PRO II and that product truly blurred the lines of between midrange and TOTL flagship as that DAP performs like a flagship albeit it offers less power output compare to its competitors when it comes to amplification capability to drive some of the power-demanding planar cans.
And now what I have here is HiBy's latest entry-level DAP, The HiBy R3 II. This device is a successor model of both R3 Pro Saber 2022 and R3 Pro Saber regular but this set has some improvement and substantial upgraded features that differentiate itself from its predecessors.
The HiBy R3 II has a small form factor that makes it a very portable device that is pocket-friendly that you can carry it anywhere to listen to hi-fi quality music. With a 3.2 inches touch screen LCD display in an aluminium alloy frame that was reinforced with toughened, scratch-resistant glass in both front and back. At the left panel, there is a micro-SD slot to expand your memory capacity to store more audio tracks. And in the right panel, there's a RGB LED indicator for status and sample rate indicator, volume knob which gives us a precise and granular volume control, button keys for play/pause and forward/back commands which are quite tactile to push.
At the bottom part, the output interfaces of different types are located there, and these are 4.4mm balanced output, USB type-C port and 3.5mm output jack. The 4.4mm balanced became more standardised as it replaced the less reliable 2.5mm balanced and it was rated at 3.5 Vrms that it can deliver a maximum output up to 380mW at 32 ohms which is quite sufficient to power up those power hungry earphones and probably, some cans. Its 3.5mm single ended output at 1.9 Vrms that can reach a maximum output at 112 mW on a 32 ohms load. As for its type-C port, it support USB2.0 and USB 3.1 protocol that can support a bandwidth up to 10 Gbps, and aside from being a charging port for replenishing battery power, it can be used as a USB DAC/amp dongle for your computer and even mobile device as it can decode up to 32-bit/384Khz PCM and up to DSD256. You can even use a dongle to bypass the built-in DAC of this device.
On its internals, it equips a dual ESS DAC, the ES9219P model which is one of the reliable mobile DACs in the market due to its performance for delivering high power output, low noise and pristine audio quality with low power consumption. Another component that was implemented here dual crystal oscillators for accurate clocking for variable sample rates, lessens any chances of jittering and reduces phase noise to have a better accuracy and delivers a more analogue sound. On its wireless features, it has a wi-fi module that is rated at 2.4G for seamless connectivity via Wi-Fi hotspots for streaming music or OTA updates for this device and a two-way 5.1 bluetooth version that which improves its connection while reducing latency on other wireless devices and also it can be used as a bluetooth receiver. It supports some basic and advanced bluetooth codecs like SBC, AAC, aptX (transmission only), UAT and LDAC. This device furnishes an Ingenix X1000E processor which has lower power consumption and can do basic computation and processing operation and its CPU speed was rated up to 1.0 GHz and it also fitted out with a 2000mAh battery that can give up to 15 hours of playback time.
On its 3.2 inches LCD with a screen resolution of 380 * 480, the R3 II gives a decent crisp and fairly detailed visual interface. It has a Hiby OS based on a Linux system as its software that can do some decent task commands via touch navigation or swipe gesture on its screen. At the home UI, it has minimalist tile presentation on its built-in application like Music, Stream media, Wireless, Book (E-book reader), System and About. If you do right drag gesture, you will access the music UI with album pic of an audio track that was presently playing and basic control functionality, and in pull down gesture, there we can access shortcut menu the software volume level, some wireless connectivity, output mode and gain mode (it will activate automatically if there is an aux connection on its output interfaces) and playing command options.
Here are the following subcategory menus under each application:
Music
● All
● Files
● Albums
● Artists
● Genres
● Album Artist
Stream media
● Tidal
● Qobuz
Wireless
● Bluetooth
● Wi-Fi
● Hiby Link
● Import Music via Wi-Fi
● DLNA
● AirPlay
Books
● Scanning
● Books
● Favorites
● Files
● Recently readed
System
● Language
● Brightness
● Backlight time
● Theme color
● Font size
● USB working mode
● USB device mode
● USB current limited
● USB DAC feedback
● Time setting
● Idle timer
● Sleep timer
● Battery percentage display
● Standby
● In-line remote
● LED indicator
● Double tap to wake up
● Button operation when screen off
● Shortcut menu
● Screensaver setting
● Screen rotation
● Restore factory settings
● Firmware update
● Certification information
Since this is a HiBy device, it has its vaunted proprietary MSEB which is their advanced parametric equaliser that will be tailored and adjusted for our specific tonal preference and perceived sound field adjustments for our listening enjoyment. And also, aside from MSEB it also has a basic EQ too in which it offers more simplified adjustment on specific frequency range.
The product packaging of HiBy R3 II is quite minimalist but it offers a lot of inclusion, here are some of the following contents inside.
● HiBY R3 II DAP
● USB-C cable
● Clear plastic case
● Screen protectors
● Warranty card
● User manual
Regarding its sonic profile, HiBy R3 II has balanced-neutral tuning as if all parts of the frequencies are evenly presented in a sonic spectrum.
The following IEMs that will be used for testing:
● HiBY Yvain
● HiBY Crystal 6 Mk.II
● LETSHUOER EJ07M
● LETSHUOER EJ09
LOWS/BASS:
It delivers a sufficient punch and good sub-bass presence on the set which sounds quite clean and well-segregated. On the sub-bass part, there's a perceivable rumbling and reverberations coming from instruments such as low tone bass guitars, synthesisers, drum machines and other sub-bass focus instruments.
Mid-bass will have an ample texture and volume on the note weight on instruments and a few male vocal types, particular bass- baritone vocals.
MIDRANGE:
The midrange part is quite well-presented across all over its frequency range as this device is able to project forward vocals while maintaining a neutral, transparent, clean and reasonable texture, neither too lean nor an exaggerated beefy one. Male vocals somewhat seem to have enough warmth and depth on its note weight just to sound more organic and engaging, while female vocals have sufficient vividness and energy on their voices to sound ethereal and sweet.
Instruments seem to sound natural as each specific instrument's timbre appears to sound correct, perhaps quite clean and balanced tone. Strings have vibrant and reasonable brightness on guitars and violins, percussive instrument have resonant, a tad warm and rich especially on snares, tom-toms, field drums and kettledrums, brasses have brassy and full sound on trumpets, horns and trombones and last but not the least, the woodwind instruments like piccolos, concert flutes and clarinets have sufficient airiness and graceful sound on them.
HIGHS/TREBLE:
The treble response of this device projects a well-balanced, smooth and non-offensive tuning on this part of the frequency range. The upper-mids appears to be rounded as it tames down some accentuated peaks to lessen any chances of sibilance and harshness which make it more pleasant to listen especially for treble sensitive folk. It has sufficient crispness and definition for instruments’ attacks and vocal emphasis.
Brilliance part of the treble region seems to have a decent airy extension with adequate sparkle for some treble clef-focused instruments.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
Its overall technical capabilities appear to be very competent for an entry-level DAP. The sound/speaker stage dimension can project a quite spacious sound field with good stereo imaging as it is able to pan out good separation of instruments and vocals, then a well-delineated layering aptness on this device.
It is also quite resolving on both macro-dynamics and micro-detail retrieval capable of delivering a good note texture and note ends on the macro-dynamics while a fairly sharp detail definition on micro-detail retrieval as it extracts some nuances and subtleties of information from an audio track.
As I conclude my assessment of this product, It seems that HiBy has continued to diversify its products as it reaches across the audio market from entry-level to flagship models where each product has its own specific offering to cater the needs of audio enthusiasts based on performance and value for money proposition. And HiBy R3 II is one of the products that HiBy truly offers that paradigm of performance and value for money that will appeal most of the budget-conscious audio enthusiasts seeking for.
If you are looking for a DAP that offers portability and sound quality performance at an affordable price, this device definitely fits the bill.
HiBy R3 II is currently available in HiBy's official store. Check the unaffiliated link below.
LINK: https://store.hiby.com/products/hiby-r3-ii
For more HiBy products, check out my previous reviews on their products.
■ HIBY R6 PRO MK.II
■ HIBY CRYSTAL 6 MK.II
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to HIBY MUSIC nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to JOSEPH YEUNG of HIBY MUSIC for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.
eaglesgift
I don't understand what you mean when you say "Accessing artist selection is a bit unintuitive as we will encounter the album first instead of the track." If you mean when you select an artist, you see a list of albums, I don't see what's unintuitive about that? I don't want to see a wall of tracks for each artist - surely it's more intuitive to listen to whole albums rather than random tracks from different albums in alphabetical order?
Zerstorer_GOhren
@eaglesgift its a bit unintuitive in my opinion if I want to play a certain track instantly, its a bit of hassle to press again just the access the track.
I'm a type of a person wants to access the tracks instantly..
Ideally: Artist > Track not Artist > Album > Track.
I'm quite used on how LG stock player on their LG V/G series on organising and compiling an audio track on their playlist. It more manageable and easier to navigate.
I'm a type of a person wants to access the tracks instantly..
Ideally: Artist > Track not Artist > Album > Track.
I'm quite used on how LG stock player on their LG V/G series on organising and compiling an audio track on their playlist. It more manageable and easier to navigate.
eaglesgift
So you prefer to see all the tracks for an artist in alphabetical order? I guess it would be good if they provided an option in settings to choose either that or album view, so we both get what we want!
EPZ AUDIO is one of the audio companies in China that was only introduced a few years ago and yet they already earn some accolades and positive feedback from audio enthusiasts on their products. As I did some assorted reviews on their previous products before, the quality of these speaks for themselves on how riveting they are in terms of build and performance.
What I have here is one their latest single driver IEM and this one is actually a collaboration effort with another audio brand, TIPSY. What I know about TIPSY was that I saw their previous product model before while I'm scrolling on my e-commerce platform a few years ago. It is their DUNMER that piqued my interest at that time due to its aesthetics and compact size of its shell frame.
This is EPZ X TIPSY or TIPSY X EPZ STAR & ONE, it has a 10mm dual-cavity dynamic driver with composite material on its diaphragm that consists of different types of polymer materials, LCP (liquid crystal polymer) and PU (Polyurethane). With the combination of these materials, it will produce that deep, rich and detailed sound on every element of music like notes and beats. And then, the driver is encased in a compact-size 3D-moulded resin shell chassis with an unusually large vent hole at the top for escaping excess air generated from its dynamic driver. This set's interlocking mechanism is a QDC-type 2-pin connector while it is more prevalent on a budget to entry-level set, the structural integrity of this type of connector is questionable.
When it comes to fitting and comfort, due to its smaller frame, it will be more versatile to all lugholes’ sizes as it also provides a good sealing that blocks any unwanted external noises from the outside surroundings. The stock cable of this one is at least decent as it is silver-plated copper albeit on a thinner side of texture and it has a straight 3.5mm termination plug which is gold-plated for better conductive and corrosive-resistance.
As for product packaging, this one has a compact, rectangular box and the contents inside are presented in an organised manner.
These are the following contents inside of its packaging box:
- A pair of EPZ X TIPSY IEM transducers.
- Stock cable
- 3 pairs of balanced bore silicone ear tips in different standard sizes.
- A polymer-fabric storage bin
- User's manual
On power requirement, with a resistance rating of 64 ohms, this device might need a device with better power output. This is one of the few IEMs that activates the high impedance mode on my LG phones as it sounds very lively as it encompasses the whole spectrum of its frequency range.
The tonality of this one is quite coloured as it has a U-shaped sound profile (if properly amplified) or V-shaped (On low normal gain mode) with some mix of warmth and bright tuning. It has more emphasis on bass and treble with a linear midrange presentation.
(Graph measurement was provided by @baskingshark , credits to his effort)
LOWS/BASS:
Bass quality on this one is quite prominent as it has a punchy, penetrating and thrumming bass response while keeping a more balanced texture on both parts of the low frequency region.
Its sub-bass presence is very noticeable on this one as it has that reverberating and grumbling effects that were generated from sub bass–focused instruments like drum machines and synthesisers. The mid-bass is quite pretty textured as it gives a body on bass-clef instruments like bass kick drums, bass guitars, bass trumpets and male vocal types like bass and bass-baritones. Bass kick drums have a full and pounding sounding, bass guitars have a broad sound on every pluck on its strings, a warm and full sound on bass trumpets and a fairly deep, resonant and dark timbre on bass and bass-baritone vocals.
MIDRANGE:
It appears that the midrange presentation of this one is quite in a notch across its overall frequency range. But at least it sounds clean, has a warmth and with enough energy for vocals and instruments to sound coherent and detailed.
Male vocals have its depth and texture on note weight for baritones, tenors and countertenors. Baritones sound its lushness, while tenors have brassy and tinny sound on their vocals and countertenors have some tenderness and sheen on their voice quality. On female vocals, contraltos have a rich and husky sound, mezzo-sopranos have those musky, tender and emotive sound, and sopranos have a gleaming sound that in general, female vocals sound gives me that euphonic and fruity sensation in my ears.
As for instruments on how they sound respectively based on the tuning of the STAR & ONE, string instruments like guitars and violins, they sound crisp and vibrant respectively while on brass instruments, trumpets sound brilliant, trombones have a metallic sound and horns have full, warm and velvety sound on them. In woodwinds, concert flutes rich yet mellow sound, a light yet intense sound on piccolos, a lovely sound on clarinets and an expressive and a tinge metallic sound in saxophones. When it comes to percussion instruments, a warm, resonant and sonorous sound on both tom-toms and field drum, a hard and clear sound on snare drums and a substantial and mellow sound on kettledrums. Pianos are more on a balanced side as it has warmth and at same time, with a tad brightness on their tone.
HIGHS/TREBLE:
The treble response of this one is entirely elevated from some parts of its high frequency region where we will notice that instruments and vocals’ octave range. It is that part where we are also aware of the definition of some vocals and attack of instruments. I'm quite surprised the sibilance is well-controlled and it doesn't sound harsh at all probably due that dip on the presence part of the treble region.
There's a good sparkle and moderately airy extension on the brilliance part for a single dynamic driver. Cymbals sound quite lustrous with a tinge of metallic sound while the hi-hats have an accurate depiction of having shortened buzzing sound. Celestas have a sweet and mellow sound and then, mallet-type glockenspiel have a sheen and lustrous sound on every strike on its bar.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
To my surprise, this set has an above-average lateral span on its perceived sound field, good height and depth that in general gives me a fairly spacious head stage within my aural sphere. As for its imaging aspect, it projects a two-dimensional stereo presentation where I was able to locate the placement of certain instruments and vocals in a rather two-layered but with satisfactory separation in a soundscape where it can play some of the most complex multi-instrumental tracks.
Coherency of its composite driver where it relatively delivers a fast transient response without any distortion at all. On its resolution capabilities, it has a good macro-dynamics due its more solid note texture but its micro-detailing is a bit blunted on its definition to retrieve some nuances like vocal ends and room effects like reverbs.
PEER COMPARISONS:
ZIIGAAT NUO
- Like the STAR & ONE, this set also has single dynamic driver configuration albeit its diaphragm consists entirely of LCP. It is also encased in a 3D-printed resin shell chassis and its detachable mechanism uses a standard 0.78mm 2-pin connector unlike STAR & ONE that utilises QDC-type bi-pin ones. In terms of inclusions, both sets are quite similar.
- The NUO definitely has a U-shaped sound profile as it also has punchy bass, a warm and a tad midrange presentation and a similarly elevated and sparkling treble response. On technical aspects, the NUO is a bit narrower in terms of sound/speaker stage width and a two-dimensional stereo presentation. Although, the Nuo is quite a bit better on resolving in terms of micro-detail retrieval as it has a sharper definition.
EPZ Q1 PRO
- Another EPZ's product with a single dynamic driver setup IEM. It also has a composite diaphragm with similar materials and it is also encapsulated in a 3D-printed resin shell chassis but it has standard 0.78mm 2-pin connector. In terms of quantity of inclusions, both sets are quite similar in numbers
- Tonality-wise, this set also has a warm U-shaped sound signature as it has a tactile and rumbly bass response that gives that punchy nature, a warmer and well-textured midrange range thats gives more body on male vocals and some instruments, then a smooth and tinge bright treble response. As for its technicalities, Q1 PRO has a pretty average on perceiving its dimensions within my aural sphere. While it has this concave-like stereo presentation but it has less defined layering although it has a good separation. On resolving capabilities, both sets are eerily similar on either macro-dynamics or micro-dynamics itself.
SIMGOT EW200
- SIMGOT's single dynamic driver configuration with a composite material called SCP which is a mix of LCP and DLC materials. It has an aluminium alloy shell chassis with standard 2-pin connector. The quantity of inclusions inside of its packaging box is rather basic just like STAR & ONE.
- The EW200 has a U-shaped sound profile with a tighter yet rumbly bass response to have that cleaner presentation due to the less emphasis on mid-bass shelf at the expense of inadequate slam. A lean textured, neutral and energetic midrange presentation to deliver a more pronounced female vocals and instruments like strings and woodwinds. And bright, sparkly and moderately airy treble response. On technicalities, it has a bit narrower and less taller sound field compared to STAR & ONE but it has similar capabilities like stereo imaging, layering and separation. On resolution capability, it appears that EW200 is quite more resolving in terms of micro-dynamics.
It seems the EPZ is quite an audacious audio company as it manages to do some collaboration with other audio brands like TIPSY that are also considered a veteran in the audio business just to release such a product. To be honest, I'm quite surprised that this set is one of the few sets that really pairs well with my LG phones as it even activates the high impedance mode automatically.
To sum up my review on this one, this set is actually a bit different on sound profile in both normal gain which is a bit less appealing and in medium/high gain mode which sounds more lively and dynamic. As this one might not align with my preferred tuning as this one is a bit too coloured in my liking, but if you want an engaging and fun sounding set, this one might be your inclination in terms of tonal aspect.
EPZ X TIPSY STAR & ONE is now available at EPZ's official store on Aliexpress and also on LINSOUL and HIFIGO. Check out the following unaffiliated links below.
★★EPZ X TIPSY STAR & ONE - ALIEXPRESS★★
★★EPZ X TIPSY STAR & ONE - LINSOUL★★
★★EPZ X TIPSY STAR & ONE - HIFIGO★★
And also, here are my other product reviews from EPZ.
■ EPZ Q5
■ EPZ K1
■ EPZ TP20 PRO
■ EPZ Q1 PRO
SPECIFICATION:
MODEL: EPZ X TIPSY STAR & ONE
IMPEDANCE: 64Ω
SENSITIVITY: 112dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
P.S.
I am not affiliated to EPZ nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to TEAM EPZ for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.
Ceeluh7
Nice review man. This is a solid set at its price. They really grew on me man. Feed em the right source and they are fantastic.
As a long time audio enthusiast, SHOZY is a familiar audio brand to me as I'm acquainted with their previous collaboration with Advanced AcousticWerkes which is a Singaporean audio brand on their HIBIKI models. I actually like the HIBIKI Mk.II as it aligns with one of my tonal references which is midcentric tuning. That's why I'm excited to do a review on this product as this is my first review on a SHOZY product.
SHOZY is a Chinese audio brand which is also registered in Hong Kong which specialises mainly on IEMs but it also releases some TWS and DAC/Amps. What I have here right now is their latest model for this year.
This is SHOZY P20 and it has a single driver configuration. The driver that was implemented here is a 14.5mm planar magnetic driver which is known to deliver a clear, clean and crisp sound reproduction and excellent clarity in its resolution with strong technical performance at the expense of better power output just to have an optimal performance. Again as I explained about the simple mechanism on planar magnetic, it has a diaphragm that has wafer-like structure with a series of wirings running through it and it was placed and suspended between the layers of magnets which reacts via electromagnetic signal output which makes them more sensitive.
Then the planar magnetic driver is encased in quite solid aluminium alloy shell structure in it which underwent a sandblasting process to give that brushed metallic surface with a laser-etched geometric design on its faceplate. The shell chassis is large as it accommodates its large driver and its outline contours remind of a certain moon phase, Waxing Gibbous phase. It uses a proven 0.78mm 2-pin connector as its interlocking mechanism.
As for its stock cable, it has 2-core OFC silver plated copper wiring that are insulated with a clear PVC coating and then it was twisted and its overall build is quite lean and susceptible to entanglement. It has 3.5mm SE on its termination plug but you can choose a 4.4mm balanced as an option if you are planning to purchase this set in online vendors in your preferred e-commerce platform.
On how this one fits to my lugholes, it seems that despite its large size, it looks nifty and quite comfortable to wear for a long listening session. It offers some good passive noise isolation as it was able to block some unwanted external noises from the outside.
The product packaging and presentation of this set is quite minimalist on how it was packed in a rather compact-size box and its contents inside are quite meagre for its intended price range in my opinion.
Here are the following contents inside of its packaging box:
- Pair of SHOZY P20 IEM transducers
- Stock cable
- Rounded edge rectangular storage case.
- 3 pairs of black coloured balanced bore silicone ear tips in different standard sizes.
- 3 pairs of black coloured wide bore silicone ear tips in different standard sizes.
When it comes to power scaling and amplification, due to its planar magnetic configuration, we will usually assume that it is harder to drive compared to some sets with dynamic drivers or balanced armature drivers. But to my surprise, this set is one of the easiest to drive sets for a planar magnetic driver out there which reminds me of a set with similar less power output requirement. Although to have an optimal performance, you still need devices with good power output delivery as you will notice the sonic performance from a normal gain mode to a bit higher gain output.
As for tonality, it seems the SHOZY P20 has a mild U-shaped sound profile as it has quite a bit more emphasis on lows and in the ultra high frequency range while the midrange has some proper texture on it.
(Graph measurement was provided by @baskingshark , credits to his effort)
LOWS/BASS:
There are few exceptional planar magnetic sets in terms of the bass quantity and quality and this set is one of them. It has authority and slam on it with a good rumbling on its bass response. It appears that while it has good sub-bass presence that I felt rumble and reverberation that were generated from instruments like octabasses, low tone bass guitars, synthesisers and drum machines.
Evidently, the texturing of the mid-bass is the one who delivers a seemingly tactile bass response as it gives more note weight on bass-focus instruments and male vocals. Bass guitars have a weighty, dark and earthy sound om every pluck on its strings, bass kick drums have full, resonant and thunderous sound on every hit on its drumhead, and male vocals types like bass and bass-baritones have its fullness, depth and dark tone that give those gravelly, voluminous and wobbly sound on their voices. It is noticeable that there are some slight mid-bass bleeds that smudges a bit on the midrange.
MIDRANGE:
Due to some slight bass smearing, it gives a more warmth, lustre and a well-textured midrange presentation although it remains to sound more articulate that will be more beneficial on male vocals, brasses and some percussion instruments. To think that this one is a planar magnetic set, this one is one of the most natural sounding sets in terms of tonal colour but in some instances, it has that planar sheen with some tinniness and energetic timbre.
Male vocals appear to sound more life-like as it has a depth, texture and volume for all types. Baritones have lush, warm and smooth sound on them that light and lyric type of baritone has a delicate, sweet and mild sound on them while a deeper ones like kavalier baritones, verdi baritones and dramatic baritones have those cold, harsher and fuller sound respectively. Tenors have those brassy and ringing characteristics as I clearly notice it on lyric and spinto types as it gives a warm. heft and emotive sound. Countertenors have mild, tender and graceful vocals from them. When it comes to female vocals, contraltos are almost utterly depicted in the most realistic manner in terms of sheer tone and timbre as it has the rich, plush and smoky sound, contraltos seems to have tender, coppery and musky sound of their voices with their distinctive lush tone and strong emphasis on low to middle voices that makes them euphonic and insouciant to listen to. On sopranos, the way on how this set was tuned, it apparently favours more on sopranos with either lyric, spinto and dramatic voice types as it sounds a bit warm, rich and expressive vocals than soubrette and coloratura types which needs more energetic and bright tuning.
As for instruments, on strings ones, guitars have meaty, warmer and bloom sound on every pluck of its string notes while violins have a full, sweet and lustrous sound on every motion on its bow strings. Woodwinds like piccolos, concert flutes, clarinets and saxophones, they sound a bit dull, hollow, rich and warm correspondingly on each order of instruments that are mentioned. On percussives, a warm, full-bodied and resonant sound in both tom-toms and field drums, a hard and somewhat precise snare drum strokes and a velvety and booming sound on kettledrums. Then on brass instruments, trumpets have substantial, sonorous and rounded on them while trombones have overpowering and full sound and then, horns have resounding and full sound that gives more a contrasting sound and tone to some woodwinds and string instruments on the orchestra ensemble. Pianos have that warm and full sound that reminds me of some antique European grand pianos.
HIGHS/TREBLE:
The treble response is quite well-balanced, smooth that gives a less brighter sound that some might perceive as a bit dark in their liking. There is a small degree of elevation on the upper mids and presence part of the treble region just to give a sustaining presence on female vocals and attack of instruments that doesn't overly boost that it might cause some piercingly sharp or bellowing female vocals. With this type of treble response, there are some slight repercussions on this one like sacrificing clarity and detail definition for the sake of a long listening session without suffering a listening fatigue.
There's a good presence of air as it extends well in the brilliance part of the treble region. Cymbals strikes have an undulating and lustrous sound while hi-hats have its typical short buzzing sound on them. Celestas have velvety and mellow sound and then glockenspiels have lustrous and bell-like sound on them either on keyboard-type or mallet-type ones.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
Among the planar sets that I've tested so far, this set is considered to have an above-average in terms of technical performance, it has an above average width on its sound field, a decent height ceiling and somehow a good depth reach. Overall, it gives me that less spacious but not too narrow head stage within my aural sphere as it projects a rather intimate listening experience.
On its stereo imaging, it has a quite concave-like presentation in which I can locate the placement of instruments and vocals in decently layered soundscape with good separation on them but I noticed that in some complex tracks, it does struggle a bit. As for driver coherency, it seems that due to how it was tuned, the transient speed of its performance is rather a bit sluggish compared to some planar magnetic drivers that I've tested so far but atleast, I don't encounter any distortion at all.
On resolution capabilities,it has a strong suit on macro-dynamics on how it shows a solidity of note weight on some instruments depending on the compression of certain tracks. And it seems that it has a less defined micro-detail retrieval as it barely extracts some fine details and nuances from an audio track.
PEER COMPARISONS:
KEFINE KLANAR
- KEFINE's first product release and it is also a planar magnetic dynamic driver with similar size with the P20's although it also has a solid aluminium shell chassis but it has a more compact design. It also has a better and thicker stock cable which makes this set even more compelling.
- As for tonality, the KLANAR has a more V-shaped sound signature as noticed with its more recessed midrange presentation when it compares to P20. It also has a punchy bass response, a slightly warm and yet energetic midrange quality and a smooth treble response but less in brilliance air extension.
- Regarding its technical aspects, the KLANAR's overall performance are quite similar with P20 from sound/speaker stage, stereo imaging and coherency. On resolving aspects, it has more refined and sharper micro-detail retrieval.
NICEHCK F1 PRO
- Another contender in the current planar magnetic IEM market. It also has an aluminium alloy shell in a teardrop design. In terms of the quantity of accessories, It offers more choices of ear tips and better quality stock cable..well NICEHCK, a well-known cable maker.
- Regarding its sound profile, F1 PRO has a V-shaped which has quite coloured tonality, it has more subbass presence and bit hollowed midbass, a noticeable recessed midrange presentation and bright treble response. Compared to P20, this set is somewhat susceptible to mild sibilance and a tad shrilly on some female vocals that might be an issue to treble-sensitive folk.
- As for technical performance, it is quite similar to the P20 in most aspects like sound/speaker stage size, stereo imaging and coherency, but it is more refined on layering and separation and has a sharper micro-detail definition. In terms of power out requirement, this set demands more power output than the P20.
LETSHUOER S12 PRO
- LETSHUOER's one of the most popular sets and like the P20, it has similar size planar magnetic and also encased in a medium-size metal shell. Compared to P20, this one is more accessorised as it has a better stock cable with modular features and more ear tips to choose from.
- S12 PRO has a U-shaped sound signature as it has more prominent subbass, a decent midbass texture enough to give a sufficient punchiness, a bright, crisp and energetic midrange and treble response. Unlike the P20, due to its energetic and gleaming nature, it is prone to slight sibilance.
- As for technicalities, it seems that S12 PRO has a bit wider sound/speaker stage, a concave-like stereo presentation, a tad better separation and layering, and also more resolving if it will be compared to P20.
- Currently, this set is considered as the “overlord” of the planar sets in under $200 as it received some accolades and respect to some audio enthusiasts alike. It uses a similar size of planar magnetic driver and it was encapsulated in a rather huge, whale-inspired solid metal structure. It also has a detachable nozzle system that makes the set more versatile to change some specific tuning and also, this set has more inclusions of accessories and better stock cable too.
- When it comes to its tonal aspect, MP145 has three sound profiles to offer as I mentioned its detachable nozzle system that makes this set more of an all-rounder. It offers from L-shaped sound up to a bright U-shaped sound signature. It has similar bass response, a comparable midrange and treble characteristics in some other tuning nozzle filters of this set if compared to P20 in case to case basis.
- As for technical performance, MP145 has a wider soundstage size in some tuning nozzle filter settings, similar stereo imaging, a bit better on layering and separation of instruments and vocals, and has a sharper micro-detail retrieval capability over the P20.
To put a conclusion on this product review, it seems that SHOZY is trying to differentiate from its competitors in terms of tuning as it tries to implement their usual in-house tuning on planar magnetic driver configuration ser which is a distinctively a balanced-warmish sound. For sure that there are some noticeable changes due to the characteristics itself it gives some “planar sheen” timbre on its overall tonality.
This is one of the few planar sets that I could certainly recommend if someone's looking for a musicality type of tuning that gives a more relaxed, casual and engaging listening experience for both casual and experienced audio enthusiast alike.
SHOZY P20 is now available at LINSOUL, check out the unaffiliated link below if you have an intent to purchase this set.
★★SHOZY P20 - LINSOUL★★
SPECIFICATION:
MODEL: SHOZY P20
IMPEDANCE: 30Ω
SENSITIVITY: 105dB
FREQUENCY RESPONSE: 5Hz – 40KHz
CABLE LENGTH: 1.2m
PIN TYPE: 2-PIN TYPE CONNECTOR
PLUG TYPE: 4.4mm
DRIVER UNIT(S): (1) PLANAR DRIVER
TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to SHOZY nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to MS. KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.
7Hertz or 7Hz is one of the audio companies that has its paradigm shift moments in the audio landscape in 2021. If you are a long timer in the audio enthusiast scene, who will ever forget their first product, the 7Hz Timeless which was considered as the gamechanger of the planar IEM market and a dual dynamic driver basshead-favoured set, the LEGATO.
To be honest, I only have a few product reviews on 7Hz items that I've published so far and this content will be a third one. This product that will be featured here is their latest midrange product and compared to other 7Hz products that I've reviewed in the past, this one is quite different.
This is 7Hz AURORA, their latest product that will cater the midrange segment and it is a hybrid driver set-up IEM earphone. This set has three types of drivers that were implemented inside and these are dynamic driver, new generation micro planar driver and balanced armature driver. Each type of driver was assigned to a specific part of audio frequency as it has its own distinctive electro-mechanical performance. The 12mm dynamic driver has a composite material on its diaphragm as its delivers a clear, deep and rich bass quality while the customised dual balanced armatures (probably a newer generation of Bellsings) is capable to deliver a crisp, clear and brimming sound on the midrange frequency and then the new generation micro-planar driver (I have some intuition that this might a flat panel driver but need some more confirmation about this particular driver) will add more clarity, well-detailed on its resolution and copious amount of brilliance air. It seems that all these drivers were connected into three-way crossover circuitry for smoother, coherent, seamlessly flat and less distortion on its frequency response curve.
In regards to comfortability, despite its large frame for an IEM, the AURORA can give a very comfortable wear and comfort to my lugholes that I was able to wear it on long listening sessions. Passive noise isolation is quite excellent on this one as it really seals off some external noises from the outside.
The drivers and other components were encapsulated in a composite shell chassis in which the cavity base is made of an opaque 3D-moulded imported resin while its faceplate is a metal alloy with some titanium filament to give distinctive pattern-like banding on some steel forging process. The general dimension of the shells are on the large size just like most multi-driver hybrid sets and it has three ventholes on the top part for escaping some excess air pressure generated from its high performance dynamic driver. Regarding its interlocking mechanism for cable connection, it uses the standard 0.78mm bi-pin connector as it is the most stable and easier to detach.
As for its stock cable, it is truly a premium grade cable which is quite thick, durable and supple that it offers a less susceptible on entanglement. This one has 4-core gold-plated monocrystalline copper wires that were shielded with PVC insulators that are twisted and braided, and it has a modularity feature where we can change its termination plugs for output versatility that most modern audio devices have. The available modular termination plugs are 3.5mm single ended and 4.4mm balanced that were angled into a L-shaped form.
As for product packaging, the AURORA has a medium-sized rectangular box with some illustrations and information prints like basic specification and company addresses. The contents inside were well-arranged and organised as it gives a pleasant overall presentation.
These are the following contents inside of 7Hz AURORA's packaging box:
- Pair of 7Hz AURORA IEM transducers
- Stock cable
- A white-coloured pill-shaped carrying case
- Ear tips casing
- A pair of medium-sized balanced bore ear tips.
- 3 pairs of narrow bore ear tips in different standard sizes.
- 3 pairs of new generation of 7Hz high quality flexible silicone ear tips in different standard sizes.
- User's manual
In addition, I would like to introduce the latest 7Hz ear tips and they are made of pliable high quality silicone ear tips which gives an improvement of its brilliance extension, dynamic range and an increase of soundstage perception. It really offers me a very comfy feeling while having an excellent grip into my ears due to its tacky surface.
The 7HZ AURORA is actually easy to drive as it will amplify a good amount of audible volume level even from a device with decently normal gain output. But powering up on this set on the sources with a better amplitude level will sound even more fuller and vivid. I would like to share about this IEM on pairing and synergy on some sources, if I paired it to a more warmish-neutral or balance-neutral sources with some specified audio ICs like AKMs and Cirrus Logics, there are some noticeable smoothness and subduing those “digital glares”.
As for its tonality, The AURORA has a mild U to U-shaped (depends on the ear tips) sound profile with somewhat balanced presentation in all parts of the frequency range.
(Graph measurement was provided by @baskingshark , credits to his effort)
LOWS/BASS:
The bass response of this set is reverberating, precise, tactual and clean. It shows the quality of its bass region that makes this set's defining tuning. While it appears that it focuses more on subbass presence, it still balanced out with the ample texture on its mid-bass to give some semblance of authority and slam.
The deep, vibrant subbass presence can be perceived clearly on how it responds from subbass-focused instruments like low tone bass guitars, synthesisers, octobasses and drum machines. An adequate mid-bass texture somehow gives a sufficient note weight on instruments like bass kick drums, bass guitars, double basses, bass trumpets and male vocals like bass and bass-baritones. Bass kick drums have resonant, rumbly and sustaining sound on every stroke that even it can cope up with the fast double bass kicks on extreme metal tracks, bass guitars and double bass have rasping, sombre and resonant as both sets can be an accompaniment with music ensembles, the former instrument is for modern genres like rock, jazz and pop while the latter is for classical, operas and orchestras. Bass trumpets have metallic and a less fuller sound as it should have on its usual register, and as on male vocals, while it doesn’t have that depth and dark tone to give that guttural and booming voice but at least it has an ample weight with little vibrato to give some dense and wool-like sound on bass and bass-baritone vocals.
MIDRANGE:
As on how it renders its midrange presentation, it is quite discernible on how it is slightly a bit notch on the overall frequency range of this set but it has a well-balanced texture on its note weight to give some heft and density on instruments and vocals with an energetic and shimmery sound on it to add more clarity and openness on high-pitched female vocals, strings and some woodwinds.
On male vocals, baritones have a smooth, velvety and lushness on their vocals which are excellent on both light and lyric types of baritone voice although while other types of baritones like Kavalier baritone, Verdi baritone, dramatic and noble baritones sounds somehow natural but they are a bit too mellow, milder and less powerful as these voices needs more warm and note density. Tenors vocals are excellent on this one as all tenor voice types either it is leggero, lyric, spinto, dramatic and heldentenor have a spiciness, brassy, dazzling and tinny sound on them while countertenors have a graceful, tender and softness on their vocals albeit a tad brighter to this set's energetic tuning nature.
As on female vocals, while contraltos have this smoky and full voice on this set, I wish that they have more weight and depth on them as it is a typical timbre characteristic on this particular vocal type. Mezzo-sopranos have those intense and bold sounds while maintaining a velvety and tender vocals as they convey a melodic and soothing quality. Soprano vocals are probably the AURORA's most strongest forte on how it depicts the quality of this particular vocal type whether it is coloratura, lyric, soubrette or dramatic ones as they sound crystalline, silvery and shimmering.
On how the instrument sounds on this set, it appears that they all sound organic and detailed as it is able to capture some of its tonal colouration but some added brightness. Strings instruments like guitars, violins and cellos, there's a crisp, presence and bright sound on every plucking on the notation strings of guitars, while the violins have a sparkling and vibrant sound on every motion on its bowstring and a clear, lively and incisive sound on cellos. When it comes to woodwinds, flutes have bright, rich and silvery sound, have intense and brilliant sound, clarinets have bright and expressive sounds that evokes some pastoral theme on some orchestral tracks and saxophones have lively and reedy sound on them. As for brass instruments, trumpets have brilliant and vivid sound while trombones have penetrating and metallic sound, horns have a resounding, brilliant and metallic sound, and tubas have resonant and rumbling sound on them. Then on percussives, snare drums have clear, precise and sharp sound on every stroke, tom-toms have resonant and reverberating sound albeit it somehow lack of warmth, field or tenor drums have majestic, sonorous and reverberating sound on them, plate bells have some metallic and rich of overtones on them and kettledrums have dry, rumbling and substantial sound. Pianos have a well-balanced sound as it has a bright and even tone on its characteristic.
HIGHS/TREBLE:
Probably, one of the highlights of the AURORA's tuning to showcase its treble response. It is definitely on a brighter side of tuning but not that too intense or glaring that might ruin the overall balanced sound of this set. It has some emphasis on the upper-mids up to the presence part of the treble region to give a definition, detail and clarity on vocals and instrumental attacks. Despite the mild boost on those particular regions, I don't hear any stridency and the sibilance is kept under control although in some sibilant-laden tracks, I've encountered some occasional hissing sound. This type of tuning should take caution by some treble-sensitive folks out there due to its energetic and intense tuning of this set.
On the brilliance part of the treble, there's a copious amount of harmonics and well-defined sparkle and excellent treble air extension. On how it affects the tonal colour on each corresponding musical instrument, cymbals have bright, metallic and brilliant sound while hi-hats have a shortened buzz and sizzling sound. Glockenspiels on either mallet-types or keyboard variant, have this shimmering and brilliant sound on them and celestas have bright and lustrous sound that gives those “heavenly” and royal ball-like atmospheres.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
As I ascertain regarding this set in terms of technical facets, this is truly its strongest asset on why this set is such a remarkable performer in these aspects. We could clearly perceive its vast, spacious sound field with wide lateral span, excellent height reach and good depth distance from front to rear.
It does project an atmospheric and three dimensional stereo presentation where I can accurately locate the placement of instruments and singer(s) in a well-layered soundscape with excellent separation on each element.
The cohesiveness of its tri-brid drivers works pretty well on how these drivers work in unison with a homogeneity performance. Dynamic driver has fast transient to deliver a pristine bass response while the balanced armatures gives a smooth yet detailed output that works in support with added airy ambience from the micro planar.
Resolution capability wise, both macro-dynamics and micro-dynamics are commendable on this set as it shows a solid note texture while having a sharp definition of micro-detail retrieval on how it extracts the nuances of notation attacks, vocals ends and room effects like reverberations.
PEER COMPARISONS:
AFUL PERFORMER 8
- AFUL PERFORMER 8 has a hybrid driver set-up consisting of a single dynamic driver and seven (7) balanced armature drivers. Unlike the Aurora, it doesn't have micro planar driver and its shell chassis is entirely made of medical-grade resin shell with a sandstone-like colour theme and also.it has a smaller size compared to the AURORA which makes it more suitable to all ear type sizes. While it also has quite well-accessories like the AURORA and also has a premium quality cable but it doesn't have a modular termination plug feature.
- As for tonality, it has a mild U-shaped sound profile but in some way it has an almost balanced-neutral type of sound that I'm quite adhered to. Compared to the AURORA, it has a bit tighter bass response, a less colouration on timbre and more natural sounding vocals and instruments on its midrange presentation and smoother and even treble response albeit it has less airy extension.
- On technicalities, the PERFORMER 8 has a bit narrower and less spacious sound/speaker stage if it is compared to the AURORA. But the rest of most technical performance, it has a similar capabilities collated with the compared set.
KIWI EARS QUINTET
- This is probably the closest one that I currently have in my collection of multi-hybrid driver set-up and I can definitely compare it with the AURORA. QUINTET also has a micro planar driver aside from dynamic drivers, piezo-electric bone conduction driver and balanced armature drivers that were arrayed inside. It also has a composite shell chassis like the AURORA although it is more compact and its faceplate is quite more minimalist. Knowing KIWIEARS, they are a bit meagre in terms of accessories and its stock cable seems decent but doesn't have a modular feature.
- This set has a mild U-shaped sound signature and it seems it has less coloured sounding compared to the AURORA. It has more subbass-focus bass response as it has more rumble with a decently textured midbass just to give enough slam, a linear and more neutral midrange presentation with a hint of transparency and a bright treble with good sparkle and air on it.
- On the facets of its technical capabilities, while it has a pretty wide sound/speaker stage size, my main concern was its depth as it is quite lacking in my opinion. But at least it has a remarkable stereo imaging presentation, layering, separation and coherency. It seems that it has a sharp micro-detail definition but its macro-dynamics is less solid.
To sum up my assessment about this product, for the past few days, I'm quite impressed with the overall performance of the 7Hz AURORA as it gives me that engaging factor to enjoy its coloured tuning. The most thing that I truly amazes me was it's overall technical performance as if it reaches some of the best midrangers and probably even some TOTLs that I've tested so far, spacious sound/speaker stage, atmospheric stereo presentation, layering or whatever technicalities we know to determine its performance of playback.
While there are some improvements in terms of tonality and its timbre as there are some noticeable colourations like a bit too energetic that causes some tinny and brazen sound characteristics to some vocals and instruments as it might be an issue to some treble-sensitive folk. But with its balanced tuning with good bass quality, transparent, vivid and spacious vocal presentation on the midrange and a detailed, sparkly airy treble response, these particular tonal aspects are enough to outweigh those concern unless if you want a neutral head, treble-sensitive or wants a more colouration on its particular sound profile.
7Hz AURORA is now available at LINSOUL, if you are interested in this product, there's a provided unaffiliated link below.
★★7HZ AURORA - LINSOUL★★
For more 7Hz product review, check out the following items that were outlined with links.
■ 7HZ LEGATO
■ 7HZ ZERO II
SPECIFICATION:
MODEL: 7HZ AURORA
IMPEDANCE: 30Ω
SENSITIVITY: 105dB
FREQUENCY RESPONSE: 5Hz – 40KHz
CABLE LENGTH: 1.2m
PIN TYPE: 2-PIN TYPE CONNECTOR
PLUG TYPE: MODULAR 4.4mm, 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (2) BALANCED ARMATURE + (1) MICRO PLANAR.
TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to 7Hz nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to MS. KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.
Good day,mates! Here's my initial impression and review of the latest offering from CVJ, The CVJ CS8.
First of all,I would like to thank Ms.Janet Hu for providing this such pretty damn good item for reviewing purpose and to share some insights to other fellow audio enthusiasts out there.
CVJ is a new audio company based on Guangdong, China that offers well-tuned products for domestic and international markets.
The unboxing experience of this product is a pleasant one as it really feels that it is premium unboxing experience.The contents inside are the IEMs, 2 pairs of extra silicon eartips (small and large sizes), a velcro wire holder, a 4-core OFC cable and a brown velvet pouch.The box itself is a solid one like a jewelry box.
The IEM is an 8 hybrid driver (3 balanced armature and 1 DD on each side).It is made of resin with metal faceplate,its construction and structural design is very sturdy and solid that it could handle wear and tear usage.The 0.75 mm recessed 2- pin connector is my preferance as I really abhorred the QDC/C-type style connectors due to its questionable and structural issue such as suddenly cracking on its sleeve.
My initial experience of this IEM is very satisfying that I could tell its sound signature and its individual audible character in every audio spectrum based on my subjective hearing perception.
The lows/bass has a soft punchy, light thumping feeling that this is what some audio enthusiasts called a neutral bass.A very clean presentation and fast decay in resolution.Bass guitars fretting is detail enough to feel its reverb,The double bass drum is satisfying enough to feel its boomy presence.
The mids is the prominent feature of this IEM as it shows its meaty, clean and transparent nature.The vocals are forward in the mix especially on females.There's a hint of a little bit of sibilance and stridency on some tracks.The instruments sounds really great and natural to me as its reveal its intricate details and clarity such as the crunchiness of electric guitars and natural and emotional reverb of a piano piece.
The Highs/treble is somewhat bright and slightly more forward in my hearing perception as it reveals its microdetails but it doesn't have this some annoying, artificial shrilly metallic sounding that you will found on most entry level hybrid( Im looking at you, KZ ZSN pro and TRN ST1.)The sounds of cymbals and triangles are accurately portray thus it is a natural sounding.
The soundstage width is above average but it compensates with its dynamic depth range.The imaging is a good enough to know the positioning of instrument placement.
As I will put my conclusion here,That this IEM has a better place in current audio market as myriads of competitors out there offers the same V-shaped tuning, strident uppermids tuning as it offers a different approach and offer a distinctive tuning to other audio enthusiasts who wants to try and explore other sound signature.If you are leaning to bassy sound sig then I cannot recommend this one.
Sources: LG V20 and LG G7(both in normal and force aux mode)
Tracks tested:
Duran Duran- The Reflex (24-bit/44.1KHz MQA.FLAC)
David Bowie- Space Oddity (24-bit/192 KHz MQA.FLAC)
Rush- A Passage To Bangkok (24-bit/192KHz MQA.FLAC)
Metallica- One (24-bit/96KHz FLAC)
Diana Ross- Do You Know Where You're Going To (16 -bit FLAC)
* Whole tracks of Eagles: Hells Freezes Over (24-bit/44.1KHz MQA.FLAC)
Queen- Bohemian Rhapsody (24-bit/96KHz)
Queen- Killer Queen (24-bit/96KHz)
Yiruma- River Flows In You (16-bit FLAC)
Michael Jackson- Billie Jean (16-bit FLAC)
* All of Riot's track in their Thundersteel album (16-bit track)
Mariah Carey - Always Be My Baby (16-bit FLAC)
Usher- You Make Me Wanna (16-bit FLAC)
The Beatles - Eleanor Rigby (24-bit/96 khz.)
Slayer- Seasons In The Abyss (24-bit/96KHz MQA.FLAC)
First of all,I would like to thank Ms.Janet Hu for providing this such pretty damn good item for reviewing purpose and to share some insights to other fellow audio enthusiasts out there.
CVJ is a new audio company based on Guangdong, China that offers well-tuned products for domestic and international markets.
The unboxing experience of this product is a pleasant one as it really feels that it is premium unboxing experience.The contents inside are the IEMs, 2 pairs of extra silicon eartips (small and large sizes), a velcro wire holder, a 4-core OFC cable and a brown velvet pouch.The box itself is a solid one like a jewelry box.
The IEM is an 8 hybrid driver (3 balanced armature and 1 DD on each side).It is made of resin with metal faceplate,its construction and structural design is very sturdy and solid that it could handle wear and tear usage.The 0.75 mm recessed 2- pin connector is my preferance as I really abhorred the QDC/C-type style connectors due to its questionable and structural issue such as suddenly cracking on its sleeve.
My initial experience of this IEM is very satisfying that I could tell its sound signature and its individual audible character in every audio spectrum based on my subjective hearing perception.
The lows/bass has a soft punchy, light thumping feeling that this is what some audio enthusiasts called a neutral bass.A very clean presentation and fast decay in resolution.Bass guitars fretting is detail enough to feel its reverb,The double bass drum is satisfying enough to feel its boomy presence.
The mids is the prominent feature of this IEM as it shows its meaty, clean and transparent nature.The vocals are forward in the mix especially on females.There's a hint of a little bit of sibilance and stridency on some tracks.The instruments sounds really great and natural to me as its reveal its intricate details and clarity such as the crunchiness of electric guitars and natural and emotional reverb of a piano piece.
The Highs/treble is somewhat bright and slightly more forward in my hearing perception as it reveals its microdetails but it doesn't have this some annoying, artificial shrilly metallic sounding that you will found on most entry level hybrid( Im looking at you, KZ ZSN pro and TRN ST1.)The sounds of cymbals and triangles are accurately portray thus it is a natural sounding.
The soundstage width is above average but it compensates with its dynamic depth range.The imaging is a good enough to know the positioning of instrument placement.
As I will put my conclusion here,That this IEM has a better place in current audio market as myriads of competitors out there offers the same V-shaped tuning, strident uppermids tuning as it offers a different approach and offer a distinctive tuning to other audio enthusiasts who wants to try and explore other sound signature.If you are leaning to bassy sound sig then I cannot recommend this one.
Sources: LG V20 and LG G7(both in normal and force aux mode)
Tracks tested:
Duran Duran- The Reflex (24-bit/44.1KHz MQA.FLAC)
David Bowie- Space Oddity (24-bit/192 KHz MQA.FLAC)
Rush- A Passage To Bangkok (24-bit/192KHz MQA.FLAC)
Metallica- One (24-bit/96KHz FLAC)
Diana Ross- Do You Know Where You're Going To (16 -bit FLAC)
* Whole tracks of Eagles: Hells Freezes Over (24-bit/44.1KHz MQA.FLAC)
Queen- Bohemian Rhapsody (24-bit/96KHz)
Queen- Killer Queen (24-bit/96KHz)
Yiruma- River Flows In You (16-bit FLAC)
Michael Jackson- Billie Jean (16-bit FLAC)
* All of Riot's track in their Thundersteel album (16-bit track)
Mariah Carey - Always Be My Baby (16-bit FLAC)
Usher- You Make Me Wanna (16-bit FLAC)
The Beatles - Eleanor Rigby (24-bit/96 khz.)
Slayer- Seasons In The Abyss (24-bit/96KHz MQA.FLAC)
In the year 2020, In that fateful year for audio enthusiasts, HZSound Heart Mirror was storming its way towards the audio community scene and felt its presence on being indifferent compared to its competitors. A neutralish-bright tuning with a well-tuned balanced sounding set at a very affordable price which is quite a rarity on that price range, HZSound Heart Mirror is an IEM to behold and it really won many ears.
Despite that superb tuning of Heart Mirror, there is only one thing I consider its achilles' heel and it was its technical capabilities. It really baffles me to be honest and somehow sort of a disappointment that if HZSound Heart Mirror has good technicalities, it will be the best IEM in 2020.
What I have here is the successor model of the HZSound Heart Mirror, the HZSound Heart Mirror PRO. Like its predecessor, it has basically the same shell chassis, similar driver set-up albeit with newer generation of CNT (Carbon Nanotube diaphragm) dynamic driver and modular cable.
The shell chassis of Heart Mirror PRO is made of a CNC-milled aluminium alloy in a trapezoidal-triangular shape with a mirror-like finish. It encapsulates a 10mm CNT dynamic driver that offers a better driver speed, more clarity and less distortion. Heart Mirror PRO uses a proven and durable 2-pin connector as its detachable socket on its modular cable.
The modular cable of this set is a 4-core silver-plated copper one and it is interchangeable to other termination plug aside from 3.5mm and these are all balanced types such as 4.4mm and 2.5mm.
The fitting of Heart Mirror PRO is cosy and comfortable as it rests well into my lug holes without any niggles. Its passive noise isolation seems decent enough that it manages to block some external noises from the outside.
Another good aspect for Heart Mirror PRO and it is a plethora of quality inclusions inside of its packaging box. HZSound really earn my respect on this one as I like audio companies being generous on including a substantial amount accessories to its product.
Here are some contents from HZSound Heart Mirror PRO:
■ A pair of Heart Mirror PRO IEMs
■ A 4-core high purity OFC SPC modular cable.
■ A mic-in SPC cable with 3.5mm termination plug.
■ 3 pairs of "Sony" ear tips of different standard sizes.
■ 3 pairs of black ear tips of different standard sizes.
■ 3 pairs of white ears tips of different standard sizes.
■ 2.5mm balanced output termination plug.
■ 4.4mm balanced outpur termination plug.
■ A black coloured, hard bound faux-leather IEM case.
■ A hanging clip.
■ Instruction manual.
With a sensitivity of 110db and a resistance rating of 32 ohms, Heart Mirror PRO should be an easy to drive set as it amplifies well on decent sources. But having a better source with better output and good quality DACs, its scales it pretty well as it has more dynamic sounding with added more power.
As for its tonality, Heart Mirror PRO has a mild V-shaped sound signature with more emphasis on treble and bass and a notch midrange. It has a warmer sound and somewhat a sound departure to the previous Heart Mirror which has more neutral sounding.
Here are some of my observations on HZSound Heart Mirror PRO on each frequency range spectrum.
LOWS/ BASS:
Without batting an eyelid, this is the most prominent part of Heart Mirror Pro on the overall sound spectrum in which it distances itself from its predecessor. The bass on it has a broad amount of slam, rigid and quite deep. It is more focused on mid bass rather than sub bass.
Sub bass has a decent depth and reverberation as I've tested some of my sub bass tracks usually from synth-pop genre which usually has that rumble and roll. The mid bass as I mentioned a while ago is more dense as it gives a full bodied sound on bass guitars, bass drum kicks and bass-baritone vocals. Bass guitars growls has this dull and weighty sound, bass kicks have a thudding but rather soft impact and bass-baritone has a sufficient resonance and powerful low delivery.
Due to more mid bass texture, it has an evidently bass bleed that detail enthusiasts might frown about.
MIDRANGE:
Certainly that it has recessed mids but despite being presented in a depressed manner in the overall sound spectrum it has warm, lush and sensible texture not to make a leaner layout (I really don't like lean note texture either its a V-shape or U-shape) sound. It gives more body to male vocals and an energetic presentation on female vocals.
Due to a warm nature of Heart Mirror PRO, male voices in all vocal types have a more gruff, guttural and power that even gives a quality on an alto or falsetto. Female vocals were also beneficial on this one as it gives a luscious and "silvery" sound but here are some points that should be taken. In upper vocal registers from mezzo-sopranos to full range sopranos, it gives some shrill and a tad raspy when a singer hit the highest note range.
Instruments like percussives seem to reap on its inherent warmness like tom and snare drums and that heavenly sounding celesta in some classical tracks. Tom drums has a more sombre sound with ample hard hitting, snares seems to have metallic and penetrating sound then a lustrous and velvety sound of a celesta. Strings like guitar and violin have more of a warmer side rather than being crisp sounding, guitars especially on acoustic one is more of a warmer and "woody" sound and violins has this austere feel that it has an inadequate grit and attack on every motion on its bowstring. Piano is even warmer with overtones to make it sound more bloomy and rich sounding. Woodwinds like flute and fife has mellow and softer sound which I wish that it is more airy with brilliance and Brass like trumpets and horns has this rounded and robust with hint of being metallic sounding which somehow accurately capture that natural sound.
It seems that it doesn't really inherit some of bright and detailed midrange of original Heart Mirror but it delivers an opposite one.
HIGHS/ TREBLE:
Treble seems to be more on a balanced side rather than being too bright or too dark. Surely that it has some noticeable peaks on the upper mids that it somehow gives some hint of sibilance but it doesn't sound even further to be a strident one as it manages to have a smoother transition with enough details.
It appears to be that treble extension has an average airness that the sizzle on crashing cymbals seems tad lacking but it has enough glistening and metallic. Hi-hats do have a shortened muted dull and buzz sound.
It is safe to say that Heart Mirror PRO on treble tuning is more on the safer side.
SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:
Like its predecessor, it has a similar approach when it comes to soundstage width and it is more of an average size, with even a midpoint depth and above average height just to make an almost equal proportion in spatial field to make a headroom just enough clearance. Imaging seems to be presented on two-dimensional, linear stereo panning just enough to hear certain elements on each part but not the most pinpoint on locating them.
Separation has decent spacing and gap between instruments and vocals. Layering is bit an improvement over the Heart Mirror original but still I consider it as a mediocre, both frequency and dynamic layering doesn't have any distinction on how it was arranged in a sonic canvas where if I play a more complex instrumental tracks, it turns out to be blurry and unhinged sounding.
Coherency of the driver responds fairly as it performs a moderate transient speed to have a sense of cohesion. Tonal colour of this one is more natural to the warmer sound.
Resolution capability of Heart Mirror PRO is quite average as it has more firm macro-dynamics with decent micro-detail retrieval. It has a less sharper definition due the intrinsic tuning of this set to sound a bit blunted.
PEER COMPARISONS:
TINHIFI T2 DLC
● Both its respective predecessors has a very positive and successful acceptance from audio community, T2 DLC has a DLC (diamond-like carbon) DD which has similar performance to Heart Mirror PRO's CNT. They even use the same shell design and material from its predecessors which are quite parallel to one another.
● T2 DLC is more neutral sounding as it sounds more balanced compared to Heart Mirror PRO which is warmer and more coloured. T2 DLC has more tighter and cleaner bass, Mids is transparent and more energetic than Heart Mirror PRO but male vocals has that lacking of depth and power that Heart Mirror PRO deliver it pretty well, Treble seems even better on T2 DLC as it has more shimmer and airier than Heart Mirror PRO.
● Technicalities on T2 DLC is tad better, as it has a wider soundstage with good depth and height. Seperation, Imaging and layering has almost the same performance. Coherency-wise, T2 DLC has faster transients and lastly, its detail retrieval has edgier and sharper definition.
BQEYZ TOPAZ
● Shells of Topaz is a composite one as it consists of aluminium alloy on its faceplate and a resin on the cavity base part which makes it lighter compared to Heart Mirror PRO. It's a dual driver set-up as its 13mm DD has piezo-electric plates on it to handle treble. Cable of this set is thicker and looks durable but Heart Mirror PRO is more versatile due to its modular termination design.
● Both have a warmer tonality but Topaz is more leaning towards a balanced-neutral sound signature. Bass is more boomy that exhibits more bass bleeds on Heart Mirror PRO compared to Topaz the fact that they focus more on mid bass rather than sub bass. They even have similar texture on mids but Topaz presentation of this particular frequency is more forward and detailed. Treble is even smoother and airier on Topaz but both sets have that lack of snap on the cymbals part.
● Technicalities-wise, Topaz is superior in most category.wider soundstage, better separation, resolution and coherency. Imaging and layering are similar as they are presented in a linear stereo panning fashion and just average layering capability.
HZSOUND HEART MIRROR REGULAR:
● The regular version is way cheaper but it does have lesser quality inclusions like cables and IEM case.
● Tonality of these sets have a definitive distinction on what these two products separate and have its different approach regarding its tuning on one another, Heart Mirror regular has that reference-neutral tuning with brighter timbre compared to a more coloured, fun sounding successor unit. Bass is tighter, midranger is more forward, detailed and even more spacious as vocal quality on Heart Mirror regular is the best for high range sopranos. Treble is even more shimmering at detail but airiness seems eerily similar as both have average extension.
● Technicalities are basically almost identical from soundstage to layering but Heart Mirror regular has edgier definition and better micro-detail and nuances retrieval.
As I put a conclusion of my review in HZsound Heart Mirror PRO, I unequivocally render my percipience towards this set is indeed a departure to the original Heart Mirror which we used to fall in love with its neutral tuning. With better included accessories and more musically tuned to be more versatile to most genre out there, Heart Mirror PRO is indeed an evolution for some listener who wants to step up from their previous consumer-level friendly tuning ear gears but as for tuning aspect, it's more of a step back rather than a progression in my honest and humble opinion.
HZsound Heart Mirror PRO is currently available to purchase and you can order it via KEEPHIFI. KEEPHIFI is always available online and ready to take care of your order with best possible customer service. You can click the non-affiliated link HERE.
SPECIFICATION:
MODEL: HZSOUND HEART MIRROR PRO
IMPEDANCE: 32Ω
SENSITIVITY: 110dB
FREQUENCY RESPONSE: 10Hz – 40KHz
CABLE LENGTH: 1.25M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
P.S.
I am not affiliated to HZSound nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to KEEPHIFI for providing this review unit. I truly appreciate their generosity towards me and other reviewers.
"Shine, shine on, through the darkness and the pain.
Shine, shine on, Warrior.
Shine, shine on, through the wind and the rain.
Shine, shine on, Warrior."
~Excerpt from lyrics of "Warrior" by Riot V~
The word "Warrior" have a strong connotation to me as I am avid fan of History and art of warfare throughout the chronological events is one of the subject that really peaks my interest on how history of humanity was marred with bloodshed and terror through political manoeuvring or simply an unjustified ego of a megalomaniac personality/tyrant. The mind of tactical brilliance of some historical warlords like Julius Caesar, Hannibal, Genghis Khan, Oda Nobunaga, Frederick The Great, Napoleon Bonaparte, Heinz Guderian and Georgy Zhukov really defines the outcome in the battlefield with their flexibility and keen observation on commanding a such number of warriors in the midst on a chaotic fighting. But I digress in this subject as I do a review on an audio product rather than chattering about war history.
CCZ Warrior is a new product released by CCZ Hi-fi. CCZ Hi-fi is an audio company situated in Shenzhen, Guangdong, China which is known to be the innovation hub and manufacturing powerhouse in the world. This company has strong ties with other popular brands with the likes of KB Ear and TRI (still doesn't have a review product from them).
CCZ Hi-fi released some previous products like the CCZ Plume and CCZ Coffee Bean and it received some positive feedback from its users. And CCZ Warrior will be reviewed thoroughly with my own methodology if it really delivers a good sound quality.
The driver set up on CCZ Warrior is of a hybrid one as it has one (1) 10mm polyester resin diaphragm dynamic driver for bass response with three (3) custom balanced armature drivers to handle mids and treble. These transducers were encapsulated in a polycarbonate plastic shell and the build quality is somehow durable. There is an innovative approach that CCZ implemented was a rubberised stabilising fin that will be conducive for best fitting in the cochlea in the best possible manner. Another good thing is that it uses a 2-pin TFZ-type connector rather than a QDC-type connector which is quite different to its contemporary products in the same price range.
As for fitting, CCZ Warrior is now in my list as one of the best comfortable IEM in the under £30/US$35 price range. It snugly and rest well to my lug holes without any pain and irritation even in a long listening session with its innovative rubberised stabilising fin.
When it comes to product packaging, CCZ Warrior has very similar inclusions with budget/entry-level contemporaries. A small, simple white coloured rectangular box with the product illustration at the front and basic specs and company address at the back.
Here are some of the contents included in the box.
■ CCZ Warrior IEM.
■ A black 4-core OFC stock cable.
■ Extra pair of ear tips in different sizes.(Small, Large)
■ Instruction manual.
As for scalability and amplification, CCZ Warrior performs well with flying colours as it can be easily driven by devices with decent power out like smartphones, tablets and laptops due to 18 ohms resistance rating and an amplitude of 108dB.
The tonality of this set is more of a V-shaped sound signature with added warmth on it as it try to exhibit a more equipoise sound between treble and bass regions.
Here are some of my observations on its sound characteristics within its frequency range spectrum.
LOWS/BASS:
The moment I listen to this set, this is the particular frequency that really stands out. The bass is very impactful, corporeal and boomy that it really hits hard with good depth.
Sub bass is commendable on this one as I discerningly feel those reverberations and rumble if I play some of my sub bass-laden tracks. Mid bass is more of a focus on this one as it has a well-textured that gives a more boomy response especially on bass-baritones, bass guitars, bass trumpets and bass kick drums. Bass-baritone has broader and guttural sound, bass guitars growl are very authoritative that I hear those weighty and mighty sounds, bass trumpets has fuller and sombre characteristics and lastly, bass kick drums sound very thunderous and resonant that gives the powerful thud.
There is some slight bass bleed on this one but for most uber bass heads who want a rigid and imposing bass quality, they will absolutely love this one.
MIDRANGE:
Considerably, it has a V-shaped sound signature that we should expect a recessed and drawn back midrange presentation. Yes, it is scoop one but it is warm, sleek and has an organic presentation.
Due to the added warmth, it has an ample body that gives male vocals more voluminous with adequate deep and gruff. Female vocal has a decent texture to give a comforting and soothing feel to give a very pleasant listening experience.
Instruments seem to have at least a natural sounding especially on percussives like snare drum, tom and timpani. Snare drums has this hard and penetrating sound, toms have this booming sound and a thunderous and deep sound on timpanis. Strings like guitars and violins has this warmer sounding as guitars are more on a "buttery" tone with warm, well-texture tones rather than being crisp and bright. Violins have this sweet and lustrous sound as I want a more lively and vibrant sound on every strike in the bowstring. Brass like trumpets and tubas seems to have a darker, rounded and robust sound. Piano has a warmer and richer tone which is if you are a fan of European-made antique pianos, you will absolutely like it.
HIGHS/TREBLE:
The treble is presented in a smooth manner with decent details, ample scintillation and moderately airy. Upper mids to presence treble seems to have some elevation but not to the point of being peaky that might cause some jarring and stridency. Sibilance is well-inhibited that hissing is practically non-existent upon testing on my sibilance-laden tracks.
Crashing of cymbals seems to have a good shimmer, resonant and with good sizzle extension. Hi-hats sound very life-like with its dry, shortened metallic nature that gives off that "chicky" sound. Treble air is passable with its moderate range to give a good amount of harmonics.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
This is actually my concern and somewhat a reservation regarding its soundstage proportion. It has only an average width that give me some sense of being crammed in my headstage but it has a good height ceiling and an engrossing depth. Imaging, separation and layering is quite impressive on this one within its price range. Imaging is presented in a concave manner where I can fairly locate the placements of each instrument and vocal in a spatial field with a good gap and distances on it. Layering of each specific frequency and dynamics of the elements is noteworthy that they are presented in a decent manner with its own distinct overlay but in some cases like some complex multi-instrumental tracks, it does exhibit some moderate muddleness and indistinction of some instruments.
Furthermore, with the coherency of its drivers, It performs decently as it is presented in a homogeneous manner but the dynamic driver seems to have a moderate speed that affects the attack, decay and transients but at least it tries to follow the speedy performance with the balanced armatures.
For its resolution capabilities, CCZ Warrior has good solid macro-dynamics and satisfactory detail retrieval that I can hear those nuances and subtleties with its sonic canvas. Timbre of this set is more on being organic with a hint of warmth.
PEER COMPARISONS:
KZ DQ6s(£29/US$34)
● Both have similarities regarding its form factor but CCZ Warrior has fresher and classy look. Instead of BA drivers, DQ6s has added more dynamic drivers for other frequency ranges.
● With its tonality aspect, they have a similar approach on targeted sound signature with a warmish, V-shaped sounding. Bass on these set are comparable as they present in an authoritative and tactile manner. Both mids on these sets are recessed but female vocals are better on Warrior. Treble is more airy and more detailed in CCZ Warrior compare to a less airy and prone to sibilance of DQ6s.
● Technicalities are also comparable on both sets like average soundstage width but layering, separation and imaging is better on the CCZ Warrior as DQ6S has a more typical linear stereo panning and less gaps on the elements. Detail retrieval is not the least important point of the DQs as it has mere average exhibiting on subtleties.
TKZK WAVE(£34/US$39)
● It has a similar driver set-up like CCZ Warrior albeit it has lesser driver count. Both have decent-looking shells in their own right (beauty is a subjective one, its up to you which you prefer). Its uses a QDC-type 2 pin connector.
● TKZK Wave has a bright U-shaped sound signature, with sufficient punch, mids are more forward in presentation compared to CCZ Warrior and has more details and crisper on female vocals. Treble is even more shimmering and detail on TKZK Wave but it is prone to sibilance and less airier too.
●TKZK Wave has a better proportion on the overall sound stage as it has wider, possesses a good depth and height and equally decent imaging, separation and layering. It has also a decent detail retrieval and its dynamic drivers performs better decay and attack as it has faster transient speed.
My afterthoughts in this review is what will be CCZ Warrior's value in the eyes and ears to its customers. Agreeable and pleasant tonality? Aye. Decent and attractive shell design? Yes. Affordability? Certainly. For sure that it is a very solid performer despite some inadequate technicalities that I've noticed.
Nevertheless with its performance, CCZ Warrior is a must have if you are a bass head who wants some decent details on mids and highs without compromising your preferred frequency range.
CCZ Warrior is now available to KEEPHIFI and I'll provide two links below this description for those interested parties.
◁◆KEEPHIFI◆▷
◁■AMAZON■▷
SPECIFICATION:
MODEL: CCZ Warrior
IMPEDANCE: 18Ω
SENSITIVITY: 108dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.25M
PIN TYPE: TFZ-TYPE 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (3) BALANCED ARMATURE DRIVERS
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
P.S.
I am not affiliated to CCZ-HIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to KEEPHIFI for providing this review unit. I truly appreciate their generosity towards me and other reviewers.
The SIMGOT revolution is still going strong as they release some of the sturdiest, insightfully designed and well-tuned sets that will truly perform beyond its price in the current portable audio market. I have tested some of the SIMGOT products and I find them remarkable from EA500 up to the EA1000.
What I have here to be featured in this review article is another entry-level IEM model from them, The SIMGOT EW200 Maze. Like some of the previous models, this set is also a single driver IEM and it has a metal shell chassis which offers more solid construction that will last longer from wear and tear usage.
The SIMGOT EW200 utilises a dual cavity, dual magnetic dynamic driver with a composite diaphragm called SCP diaphragm. SCP diaphragm has a special polymer thin film coated with silicon layers consisting of proven LCP (Liquid Crystal Polymer) and DLC (Diamond-like Carbon) materials which are known to have an excellent tensile strength, very responsive and cleaner sonic output. Another facet that taking advantage the combination properties of both materials is deliver a full and deep low frequencies, a rich, smooth and airy extension on midrange and high frequencies with some improvements on technical performance like wider and spacious soundstage and better layering capability. Aside from new technology of drivers, SIMGOT also implemented a sophisticated multi-layer tuning system which incorporates two distinctive of tuning target curves, the older Harman-type of tuning and their in-house tuning which is also based in Harman tuning curve that will give a distinctive tuning curve with some corrections and improvements on dynamic range and detailed yet faithful sound reproduction.
The drivers and passive tuning system were encased in a solid aluminium alloy chassis with compact and ergonomically-designed shell contours. It has a mirror-finished surface to give a more luxurious and premium-feel and also ensures durability for long term usage. Like almost all SIMGOT models that I've reviewed in the past, it incorporates a 0.78mm 2-pin connector as it is known to be a more reliable and easy to use one as you swap it with another cable with the same connector.
As for fitting and comfort, these sets rest well into my lugholes as I don't feel any discomfort or any fitting issues that will be detrimental to our listening experience and it is able to block some external noises from the outside surroundings.
Its stock cable is quite decent and somehow suitable for its asking price. It's a 2-core silver-plated copper wirings that were insulated in a clear PVC coating that were braided and it has an L-shaped plug in a 3.5mm SE termination.
When it comes to product packaging, it appears that SIMGOT EW200 is quite basic and its inclusions are rather elementary that will be enough for its overall usage.
Here are the following contents inside of SIMGOT EW200's packaging box:
- SIMGOT EW200 IEM transducers
- Stock cable
- IEM storage bag
- Three (3) silicone ear tips of different standard sizes.
- User's manual
For power scaling and amplification, SIMGOT EW200 is quite easy to drive even though devices like smartphones usually have decent power output enough to power most head/ear gear with low impedance rating. In my LG phones and DAPs, a medium volume level is enough to have a dynamic and full range sound.
As for its tonality, it appears that this set is leaning towards a Harman-type of tuning which is a u-shaped sound profile though SIMGOT added some emphasis on upper-mids to presence part of its high frequencies to have more brighter sound.
(Graph was provided by @baskingshark , credits to him)
LOWS/BASS:
Like most of the Harman-type sets, it focuses more on the sub-bass presence rather than mid-bass texture as this type of tuning has its own merits and shortcomings. The overall bass response of this one is tight, precise and clean as it has a good amount of reverberations and rumble from sub-bass focus instruments like synthesisers, low tone bass guitars and drum machines.
Mid-bass appears to be less textured and has an inadequate volume to give a more authority and slam that will affect the tonal colour of some instruments and vocals. Bass guitars have a rasping sound although a bit hollowed in some cases, bass kick drums have rumbly and resonant sound on them albeit it has a lack of authority on them but at least it can deliver a fast and incisive one, then on bass-baritone vocals, they sound a bit lean and less darker tone on them due to less textured mid-bass response.
MIDRANGE:
It appears that this set follows a Harman-style target curve, its midrange presentation is a bit recessed, less textured and a leaner one on some male vocals and brass instruments but it gives that clean, transparent, energetic and crisper sound that some female vocals and some instruments especially strings and woodwinds.
Male vocals like baritones have some inadequacies on their note weight as this set will not give their distinctive warm, lush or velvety sound that I am accustomed with this particular vocal type. But when it comes to tenors and countertenors, this set can deliver those dazzling and spicy leggero and lyric tenor vocals, and then a tender and sensitive vocal quality of countertenors with their falsettos. On female vocals, contraltos appear to have a less rich sounding and lack heft on their vocals while mezzo-sopranos have that fiery and glowing sound from their vocals. Soprano vocals actually sounds quite well on this set as it is able to project those gleaming, shimmering and crystalline sounds that dramatic up to the coloratura types of sopranos execute it almost flawlessly.
As for instruments, as I mentioned a while ago that strings and woodwinds sound pretty good on this one that guitars and violins have a bright and shimmering sound from them as the guitars have a ceiling and crisp sound while the violins have metallic and vibrant sound on them, and the woodwinds like piccolos and concert flutes have bright, intense and penetrating sound though there are some instances that they sometimes sounds a bit piercing that might be too sensitives to some listeners. On brass instruments, trumpets have brilliant and vivid tones on them, horns have bright and yet a bit soft and less ponderous sounding, and then, the trombones have less brassy, less darker tone and sometimes a bit overpowering sounding if they are hitting an upper register. Percussives like snares have sharp and dry sound on them on every stroke, tom-toms have resonant but somewhat lack of warmth on them while field drums have hard and precise sound on them and then on kettledrums, they have a rumbly, dry and resonant sound. Pianos sound leaning towards a brighter tone but I still consider it as even sounding one.
HIGHS/TREBLE:
EW200's treble response's orientation is on the brighter side as the accentuated upper-mids up to the presence part of the treble region are quite noticeable. The emphasis parts of the frequency range will give more definition on female vocals and more crisper and delineation attacks of instruments. It also might be an issue to some treble-sensitive folk out there due to its energetic nature of its tuning as its sound is a bit shrilly and a tad piercing, but I can guarantee that sibilance appears to be well-controlled.
For a single dynamic set. It has a good presence of sparkle and shimmer and a moderate airy extension as I noticed it on some percussion instruments. Cymbals have bright and glistening sound while hi-hats have shortened dry and sizzling sound on them, glockenspiel have shimmering and in some stances, piercing sounding, and then celestas have bright and shimmery sound on them.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
It appears that the sound/speaker stage projection of this set is average to above average. It has a fairly decent width span, enough height and depth on a rather two-dimensional stereo imaging within my perceived head room.
To be fair, it has a good separation and layering is quite impressive for a single dynamic driver IEM as as instruments and vocal(s) are well-segregated and its frequency and dynamic tones seems to be organise where I was able to locate its placement and how it manage to play some of the most complex tracks out there.
Coherency of its dynamic driver is also excellent as it is quite responsive to deliver such fast transient audio quality. Resolution capability is good enough as it has good macro-dynamics while having a sharp micro-detail retrieval capability as it is able to extract some nuances and details on an audio track.
PEER COMPARISONS:
EPZ Q5
● This is EPZ's offering on the entry-level segment and it is also a single dynamic driver IEM.While it does have an unoriginal design and it uses a MMCX-connector but it offers two types of silicone ear tips and better IEM storage case.
● It has a V to U-shaped sound profile and somehow it has a bit more warmth on it to add texture to its overall sound quality. Compared it to EW200, it has more mid-bass texture, a more warmth and yet bit more recessed on the midrange then a quite similar treble response as both sets are quite bright and airy for a single DD set. On technical capabilities, both sets are on par but I noticed that the sound/speaker stage on Q5 is a bit larger as it has more height reach and a tad wider sound field width span.
7HZ ZERO II
● Another contender in the entry-level single DD set segment as this one also has a good cult following from the audio enthusiasts sphere lately. It has a composite shell chassis with mecha-inspired aesthetics that makes it lighter to wear and it has more choices of ear tips to choose from.
● It has a mild U-shaped sound signature which also has a warmish-neutral characteristics on it. As I compare it with EW200, it has more texture on the mid-bass, an ample warmth and less energetic sound on the midrange, and a less sparkling and a modest airy extension on its treble response. On technical aspects, it traded blows with EW200 on a case to case basis as it has better sound/speaker stage width and better macro-dynamics but EW200 has a tad better separation and layering as it is quite more capable to handle some of the most complex tracks out there and better micro-detail retrieval.
ORIVETI OD100
● One of the closest competitors of EW200 as its shell chassis is also made of solid aluminium alloy and uses a high quality dynamic driver. It also included more accessories as it has more choices of ear tips to choose from and a better IEM storage case.
● Its tonality is either U or V-shaped sound depending on ear tips that you are using as this set is known to be tip-dependent. As I compared it to EW200, it has more tactual and punchy bass response, a more recessed and yet has a good warmth on it to add more texture on male vocals but it has less energetic and bright sound that affects the timbre of some female vocals and string instruments, and then, a bit smoothen and less brighter treble response as it has modest sparkle and less airy extension. On technical capabilities, it has quite similar sound/speaker staging and stereo imaging, coherency of drivers but it has more solid macro-dynamics compared to EW200. Although on separation and layering and micro-dynamics, EW200 is more superior.
As I conclude my review on this set, It appears that SIMGOT continues to impress us with the quality of their products. EW200 is one of the prime examples of a product that takes a safer path in terms of tuning with good build quality that will satisfy the needs of audio enthusiasts who are on a budget. As its tonality might not be my alley as isn't exactly aligned with my tuning preferences as it sounds already too familiar and too safe as lessens its engaging factor but what really impresses me was its competent technical capabilities that is quite uncommon on an IEM with single dynamic driver configuration.
SIMGOT EW200 is currently available in e-commerce stores, you can check out the unaffiliated links below.
★★OFFICIAL STORE★★
★★LINSOUL★★
SPECIFICATION:
MODEL: SIMGOT EW200 MAZE
IMPEDANCE: 16Ω
SENSITIVITY: 126dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2m
PIN TYPE: 2-PIN CONNECTOR (0.78mm)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): 1 DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to SIMGOT nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to FIA LAM of SIMGOT for her generosity and trust towards me and other reviewers.
4ceratops
Thanks for the review. I have to say that I absolutely agree with all the negatives that are pointed out in the review. I guess we hear things very similarly.
“Larks are one of the most adaptable species of birds out there, they can produce that melodious and high pitch singing especially on their call to mating ritual and even to a simplest communication, they can mimic some of other birds' chirping and churrs too.”
Oi! welcome to my another IEM review article and I'll do another product review from one of the fastest growing audio companies in the current market, KB Ear.
I previously done some reviews on their product twice, KB Ear KS1 and the successor of this product, The KB Ear Robin. If you are interested on their other products, you can check it out the links below after this statement.
KB Ear KS1:
https://euphoniareviews.blogspot.com/2021/03/kb-ear-ks1-kilo-sierra-uno.html
KB Ear Robin: https://euphoniareviews.blogspot.com/2021/11/kbear-robin-good-decent-performing.html
What I have here is the KB Ear Lark, this is the first product from their line of “Birds” series. As I mentioned that I’ve done a review on its successor unit, both have a hybrid driver system but this one has a single BA (balanced armature) driver as opposed to a quad BA drivers to its successor. KB Ear Lark has a 10mm dynamic driver that handles the low end and a single custom BA's made by Bellsing for mids and highs frequency range that were regulated by an electronic frequency divider.
The shell of KB Ear Lark has different materials on each section as its face plate is made of zinc alloy, an opaque polycarbonate plastic on its cavity base ( mine has pale purpleish colour) and an aluminium alloy on its nozzle. The shells a little bit on a hefty side but It was well-constructed and of a good quality standard. The metal face plate has a debossed honeycomb pattern and very fine, laser-etched “KB Ear” word at the bottom. It has a 2-pin connector that reminds me from the one’s implemented on TFZ's which sturdy and proven design
Ergonomically-wise, when it comes on fitting and comfort. The shells' contour fits alright in my lug holes as I don’t feel any unpleasant experience as it has smooth finish on its sides without any roughness or misalignment construction on the sandwiched polycarbonate and metal. As I insert it into my lug holes, I feel that it has an average sealing that it barely blocks the noises from external source due to the nozzles are bit wobbly into my ear canal.
When it comes to packaging and inclusion of accessories, KB Ear is the few audio companies are impeccably generous on putting up some contents and on how they are place in orderly that make unboxing experience pleasing and enjoyable. The box itself has a white colour cardboard sleeve with the picture of the product at the front and some basic information on specifications and address at the back.
Here are the following contents that you will find inside the box:
- A pair of KB Ear Lark
- Three (3) pairs of black ear tips of different standard sizes.
- Three (3) pairs of white ear tips of different standard sizes.
- A white 4N SPC cable with a L-shaped 3.5mm termination plug.
- A canvas zippered IEM case.
- Instruction manual.
As for connectivity from its source, this IEM is easy to drive as they can use to decent sources such as laptop, smartphones and tablets. Putting them on a more better sources such as good quality devices with DAC/Amps will scale them even better as they sound even more fuller and produce better resolution.
The sound signature of KB Ear Lark is more on v-shaped tuning as bass and treble are more prominent that the mids’ placement is more on neutral and deep-seated in the audio frequency spectrum.
Here are some of my observation on each segment of audio frequency spectrum.
LOWS/BASS:
The bass is prominent on this IEM as it sound more punchy, precise and definitely has an ample slam, to think that sub-bass is more prominent on the bass region.
The sub bass is quite impressive as it has a good extension that it really produces a grumbling when I play some bass-intense tracks. Mid bass has decent amount of weight note to give a substantial texture on bass kicks, bass guitar and some male vocals. Authoritative bass kicks, a growl and more earthy sound of bass guitar and a more throaty quality on bass-leaning male vocals.
Overall, bass quality is decent enough that some ardent bassheads will probably accept the Lark's bass as sufficient and satisfying.
MIDS:
In this part of audio frequency spectrum, here will I layout my critique on KB Ear Lark. In my impression, I find it subdued, recessed and leaner that it doesn’t suit my preference as I want my mids has more forward vocals and more natural, well-textured and accurate timbre on instruments.
Despite of my skepticism on its midrange, It still find it as a clean, neutral and detailed. The vocals of both gender performs well as male vocals has a decent and leaner weight note but still deliver a clean and definition while the female vocals will be more benefited on this one as its has that more transparent and openness as their voices has that pleasant and sweet quality albeit it is sound a bit thinner.
When it comes to the tone colour of each instrument, I find it more benefited more on strings and wind instruments rather than percussions due to it more brighter timber as it gives off a more crisper sound of a guitar, more reverberating quality in violins and shrilly and edgy sound of a sax. Percussive has a less penetrating, sustaining, crackled and less detail sound especially on snares and bongos.
Despite on my reservations on the quality and quantity of the mids, I still find it more mature and pleasant to listen compare to some contemporary IEMs at almost the same price range.
HIGHS/TREBLE:
The trebles performs decently but here some of my observations; It has an enough brightness just to give a crisp, sparkling and decent airy extension.
In most tracks, it delivers that uneven smoothness as I noticed that’s it shows a sibilance if the tracks was intendedly mix to be sibilant and a hissy one a bit, And a hint of strident and gratin sound to high pitch female vocals in some vocal-centric tracks (probably due some adjustments on fixing the first tuning of Lark which reported to more boosted that cause a harshness but treble on this one sounds leaner and leaning towards being brittle sounding).
Cymbals strikes has a satisfactory shimmer and natural airy extension while hi-hats sounds less muted as it has ample definition and harmonic range.
Summarily, if I rate the quality of treble, I give it just as a barely passable mark as they don’t really sound bad nor spectacularly impressive.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
In my estimation on overall dimensions of its sound field, it has an above average on width, just enough depth just to be able to sense a deep and more emphasis on height. Imaging performs up to the mark one, not the most accurate on pinpoint the exact location as I hear in some IEMs but for its price range compare to other products at the same price bracket, KB Ear Lark performs well.
Separation has a little bit sense of gap and spacing on between instruments and vocals, Just have an enough distance if I perceive but the layering aspect is laudable, the fact that on how the rows and its placement of each instrument has a good overlay and stack on each segment especially on orchestra that plays classical and movie scores.
Driver coherency performs decently for a hybrid that they sound well-balanced without being uneven phasing and imbalance sounding. When comes to the timbre, it has bright and has “BA” tonality due to sounds metallic.
The DD is more a bit more sedate as its transients speed is performs sluggish and decay has a gradual pacing.
As I render my verdict on my assessment on KB Ear Lark, if you observe that I'm quite pointing out some of its flaws and inadequacies to sound more of a critique on this product rather than being buoyant and yet I still give a 4-star mark, one of the reasons is that KB Ear gives an importance on its customer’s satisfaction on how they present their product very well-organise and very presentable with a substantial amount of included accessories compare to its competitors that usually provided their set with just bare-bones accessories. Second is their products aesthetics and presentation for its quality and in well-organise manner and lastly, their tuning which is more mature and refined compare to some IEMs when it comes to V-shape tuning.
And to be honest, It will be a hard to sell that I will recommend this one to a more experience audio enthusiast who were more attuned to neutral and less coloured sound signature, But for a starters and beginners who want a better sounding and decent technicalities set than their previous more casual “consumer-friendly” tuning earphones then KB Ear Lark is a better option.
The KB Ear Lark pricing is around US$29/£22 and still available to all e-commerce sites.
SPECIFICATION:
MODEL: KB EAR LARK
IMPEDANCE: 16Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 20Hz - 20KHz
CABLE LENGTH: 1.25M
PIN TYPE: MMCX CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNITS: 1 DYNAMIC DRIVER AND 1 BALANCED ARMATURE DRIVER.
PROS:
- Sufficiently balance-sounding IEM.
- Good all-rounder set.
- Elegant looking shell.
- Smooth and mature tuning.
- One of the most generous audio companies on putting up a substantial amount of included accessories.
- Decent technicalities.
- Ample resolution quality for its price value.
CONS:
- Too recessed and laidback mids especially on vocals and percussive instruments in my liking.
- Treble quality needs more refinement.
- Wishing for better stock cable.
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
P.S.
I am not affiliated to KB EAR nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to thank Wendy Li for providing this review unit, I truly appreciate on her generosity towards me and other reviewers.
If you are interested this IEM product from KB Ear, Just check out the link below:
Facebook: https://mobile.facebook.com/kbearofficial1/
Ali Express:
https://kbear.aliexpress.com/store/5017064
"News comes from nowhere"
~~Du Fu, Chinese Poet
Du Fu was a Chinese poet during Tang Dynasty, he was also known to be an astute politician and a civil servant in the imperial court during Emperor Xuanzong's reign. His stylistic and content innovation on composing his poems gives him that reputation as a groundbreaker poet, his literary works have influences on some of other Far East regions and left an indelible mark on Chinese, Korean and Japanese literary works.
TANGZU Audio is an audio company that does not need further introduction as they already have a good reputation and earn some respect and acceptance from the audio community with their well-made products. They are also known to specialise in using a single driver set up on their products, either it is a dynamic driver or planar magnetic driver. But this time, things are quite different.
Presenting TANGZU FU DU Verse I (I just call this one as a FU DU for the whole duration of this review), this is TANGZU's first attempt at implementing a hybrid driver set-up on their product. It seems that this will be their latest series line-up, a theme specifically for Tang dynasty era's poets and philosophers aside from their monarch series. And it also noted that this model is a collaboration with another brand, Divinus. Divinus is a Korea-based audio accessory brand that specialises with their velvet eartips and they also sell a TWS earphone in which I did a review on it a few years ago.
Like I mentioned, this set has a hybrid driver set-up as it consists of a single dynamic driver and two (2) balanced armature drivers. It uses a high performance 10mm driver dynamic that delivers a deeper, natural and even more potent bass response with faster transient speed without any distortion. The two custom-made balanced armature drivers (either a new gen from Bellsing or simply from E-Audio) handles the midrange and high frequencies for clarity, accurate and natural sound reproduction and smoother yet airy treble.
These internal drivers are housed in a modified UIEM-type of shell chassis made up of composite materials. The cavity base part of the shells are made of 3D-printed moulded resin while the faceplate is made of CNC-milled aluminium alloy with a minimalist aesthetic yet exudes sophistication which gives the FU DU a solid build quality and at the same time, a lighter weight. There are two vent holes on each shell to release excess air pressure generated from its dynamic driver. Unlike the cheaper Wan'er, The FU DU uses a proven 2-pin connector as its detachable mechanism for ease of cable replacement.
When it comes to fitting, it looks like that FU DU's shell contours rest well into my lugholes with any particular issue either ear fatigue or discomfort that might hinder listening experience.
As for product packaging, it was packed in black-coloured rectangular box while the inclusions inside are well-presented and organised as we unbox it. Ear tips have their own compartment as the same with IEMs and other accessories.
Here are the following contents inside the box:
■ a pair of TANGZU FU DU IEMs.
■ a 4-core high-purity OFC silver plated cable with 4.4mm balanced termination plug.
■ Three (3) pairs of TANGZU SANCAI balanced ear tips in different standard sizes.
■ Three (3) pairs of DIVINUS velvet ear tips in different standard sizes.
■ a faux leather zippered IEM storage bag.
As for power requirement and scalability to amplify this set, TANGZU FU DU is actually an easy to drive set that even a smartphone with just decent power output will be able to power it properly. Just a moderate amplitude level is enough to deliver a dynamic and a full range sound impression on this one.
Regarding its tonality, TANGZU FU DU has this balanced-warmish, U-shaped sound profile that reminds me of some vintage headphones from Sony that will give you that analogue-ish vibe on it but due to balanced armatures, it added an tad amount of sparkle and shimmer on highs. It has more prominent low and high frequencies and a notch midrange presentation.
LOWS/BASS:
The first thing I noticed on the bass response of FU DU is that it is incisive, tactile and borderline boomy that gives more heft and authoritative sound on mid-bass focused instruments on which I will elaborate later.
I certainly felt those reverberating and rumbling sounds produced from sub-bass filled instruments like synthesisers, octabass and drum machines. Mid-bass is the most dominant frequency in the bass region as it gives more note weight on certain instruments and male vocals particularly on bass baritones. Bass guitars have a weighty and resonant sound on every pluck on its strings while a sonorous and rumbling on bass kick drums timbre from attack to resonance. On bass-baritone vocals, it has a darker tone and more guttural sound to give a dense and deep vocals on the singers like Barry White, Andrew Eldritch and Peter Steele. It should be noted that it has some slight bass bleed across the midrange frequency but still on a manageable level.
MIDRANGE:
Despite a tad recession on the presentation, It doesn't sound lean nor dry but rather on a warmer side. The fact that vocals are well-textured and somehow forward while instruments have a natural and good attack particularly on rhythmic one and percussions.
On vocals, let's start with male ones first. Baritones have a warm, "coffee-like" and fuller characteristics that give us that deep and modulated voices from Eddie Vedder to Dmitri Hvorostovsky. Tenors seems to sound great in this one as it gives a tangy and brassy tone on Robert Plant, Justin Timberlake and the famous "Three Tenors" in the operatic scene. Both countertenor and mezzo sopranos share almost the same tonal characteristics as they have this full, velvety and smooth sound from it as I listen to either Andrea Corr or King Diamond. I almost forgot to mention about contralto vocals on this one as they have this strong and heavy tone from their low chesty register. For soprano vocals, FU DU was able to deliver the silky, rich and emotive quality of a dramatic soprano but for coloratura soprano I noticed that it is quite less energetic and agility at least they still sound articulate to my ears.
On instruments, it seems that they all sound natural as both percussive and rhythmic ones are able to project that almost correct timbre. Guitars have a tad crisp and bloomy effect as I was able to perceive every pluck on its notation while violins' sounds have this lustrous sound from them. Pianos seem to have this warm to balanced tone from it while celestas have a more velvety and sweet sound than a bright and bell-like one. Trumpets have brilliant and full sound then trombones have a rather solid and rounded tone. Percussive like field drums, toms, timpanis and snares have these sonorous, warm, boomy and rustling tones respectively. As for woodwinds, flutes and fife have these mellow and rich sounds while clarinets and saxophones have these warm and velvety timbres.
HIGHS/TREBLE:
The treble response of FU DU is surprisingly balanced as it doesn't sound dark and dull or too bright and intense. It has some emphasis on the upper mids just to have enough sheen for sufficient clarity, detail and an ample crisp for attack of vocals and instruments. There are some parts of the treble region especially the presence part that were smoothed a bit for the purpose to remove unwanted harshness and sibilance. Overall it has a smooth and pleasant treble quality that treble sensitives will be able to enjoy.
Cymbal sounds have a rather lustrous but it has good sizzle to determine that it has adequate treble extension with acceptable amount of sparkle. Hi-hats seems to have that distinct chick sound as it has a short buzzing tone. Glockenspiels appears to have that lustrous quality rather than having a bright and shimmering sound.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES
It has a modest sound/speaker stage proportions based on how I perceived its overall sound field dimensions. It has an average to above average span on lateral cues, good depth and higher than average height ceiling which give me that moderate head room within my perceived spatial sense.
Imaging presentation is fairly presented a typical two-dimensional stereo field as I was able to locate the position of vocals and instruments with decent accuracy. Unexpected its a good separation and fairly decent on tonal and frequency layering as it able to have a decent stratification within its sonic field that it able to render some complex tracks like jazz ensemble in satisfactory manner but it somehow struggles on multi-instrumental orchestral tracks.
Cohesive performance of its hybrid drivers is quite reasonable given how each drivers able to deliver that competent transient speed, less distortion, no out of phase issues and good clarity.
It seems it has contrasting aspects on its resolution capability between macro-dynamics and micro-dynamics. It has a solid and consistent volume on macro-dynamics then on micro-dynamics, it has rather a decent detail retrieval as it able to extract some nuances and subtleties of data from a track. So I can safely say that it is quite average but at least its definition is not blunted and mushy that is detrimental to notation attack and sonority within its sonic canvas.
PEER COMPARISONS:
CVJ MEI
● Compare to FU DU, this is a much cheaper set and it also has a similar material built on its shell chassis with comparable classy aesthetics. And it has a working tuning toggle for choices of preferred sonic profiles but on both quality and quantity of inclusions, all in all, Mei is inferior on those categories.
● Tonality-wise, CVJ offer four types of sound profiles although the single DD mode is one of the worst tuning that I've ever encountered in recent memory. Ill compare it with FU DU to 1 DD + 1 Knowles BA + 1 Custom BA settings. The bass is punchy enough but compared to FU DU, it lacks of depth and less authoritativeness. On midrange, it has brighter, more detail and more energetic that is beneficial towards more female vocals and other instruments which makes Mei more favourable but at the expenses of having a slight sibilance. Both are comparable in treble quality but Mei has more crisper and better sparkle on presence up to brilliance treble region albeit the treble air is somewhat similar on extension.
● Both are almost alike in technical performance but there is one thing that CVJ Mei have an edge, it has better micro-detail retrieval as it has a much sharper attack on definition that it was able to extract more details and nuances compare to FU DU.
HIDIZS MS3
● Another set with similar drivers implementation on its transducers but MS3 is way more pricey due to its more premium BAs inside. Its overall shell chassis is made of CNC-milled aircraft-grade alumium alloy albeit it is tad heftier compare to FU DU. The thing that makes the MS3 standout was its detachable tuning filters. While both have impressive product packaging presentation but MS3 has better stock cable, more ear tips to choose from and other tuning filters, although I prefer FU DU's faux-leather IEM storage bag.
● Due to its tuning filter system, MS3 is way more flexible when it comes to sound signatures in which it offers a variety of tuning from U to V. The red filter is comparable to the FU DU's tuning although the former has a noticeable more recessed midrange presentation but on Rose Gold and Silver tuning filters, it shows a more refinement, better detail and a crisper tone of MS3.
● On technical performance, almost similar sound/speaker stage dimension but MS3 has better height reach. Imaging seems to have a concave presentation with more improved separation of elements and better layering capabilities. MS3 has a much better resolution capabilities especially on micro-dynamics in which it edges out the FU DU in terms of definition and a sharper attack and loudness as it able to extract more details.
Since this is TANGZU's first foray on hybrid driver set-up IEM. It looks like they are taking a step coming out of their own bubble as they try to innovate and are willing to take a risk to deliver a different product from their usual offerings.
TANGZU FU DU won't pretend to be that its a very technically competent set nor an analytical sounding one. But instead, it offers a fun sounding, quite engaging and an analogue-ish tuning that will let you experience the Hi-Fi nature of the previous decades like from the 70s and 80s era. That's indeed the beauty and strength of this set.
TANGZU FU DU is now available at TANGZU's official store, check out the link below:
★★TANGZU - OFFICIAL★★
And also, you can checkout my reviews of other TANGZU products:
★★TFORCE YUAN LI★★
★★TANGZU WAN'ER S.G.★★
SPECIFICATION:
MODEL: TANGZU FU DU VERSE 1
IMPEDANCE: 16Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.25M
PIN TYPE: 0.78mm 2-PIN CONNECTOR
PLUG TYPE: 4.4mm BALANCED
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (2) BALANCED ARMATURE DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
P.S.
I am not affiliated to TANGZU AUDIO nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to the TEAM TANGZU for sending this review unit. I truly appreciate their generosity and trust towards me and other reviewers.
innovated
Appreciate 
the detailed review @Zerstorer_GOhren , many thanks 
My set arriving in a few hours, will report back
the detailed review @Zerstorer_GOhren , many thanks My set arriving in a few hours, will report back
This audio company, CVJ seems to be in a steamroll mode as it produces a substantial amount of IEMs. The introduction of CVJ Mei in the last few months did somehow improve the company's standing as it was able to earn back some of its reputation that were lost due to prior releases of less impressive and mediocre products.
It appears that CVJ will try to establish a strong presence in the ultra-budget to entry-level segment and this is it, their latest offering, The CVJ Konoka. The CVJ Konoka will differentiate itself from its competitors in this segment due to unusual drivers that CVJ implemented.
CVJ Konoka is a hybrid driver configuration IEM earphone and it consists of one (1) dynamic driver, one (1) balanced armature driver and one (1) vibration or haptic motor driver which makes a "tri-brid" set. The new vibration motor driver will handle the low frequency, the 10 mm dynamic driver will take care of the midrange up to some parts of high frequencies while it is supported by a balanced armature for brighter and better resolution. That said, the vibration motor will give an immersive and unique bass experience as I will explain later. Like most current releases of CVJ models, it has toggle switches for different sound profiles which CVJ provided on its tuning instruction manual.
The shell casing that encloses the drivers are made of a clear polycarbonate plastic material and the dimension of its shells are of medium-size which makes it more compatible to all ear sizes. Like its previous models, the CVJ still utilises a QDC-type 2-pin connector as its detachable mechanism.
The fitting and comfort on this one is quite good as it sits well in my lugholes and I don't experience any particular issues that will be obstructing my listening session. I was able to achieve a better seal into my lugholes as it able to blocks some external noises from the outside surroundings as I'm into as I'm always doing some physical activity like brisk walking.
As for product packaging, CVJ Konoka is rather utilitarian and minimalist in presentation but it has a decent amount of inclusions inside the box.
Here are the following contents inside of its packaging box:
● Pair of CVJ Konoka IEMs
● stock cable
● tuning pin
● three (3) ear tips in different standard sizes.
● paperwork like Q.C stub, warranty card and instruction manual.
Konoka is easy to drive where you simply use them with portable devices with headphone jack and voilá you will enjoy its full range sound quality.
As for its overall sound quality, Konoka has definitely a v-shaped where it has more emphasis and elevation of its bass and treble while midrange is relatively in a neutral spectrum. With its tuning switches, it will add some warmth and sort of perceivable effect due the implementation of vibration motor drivers.
These are the tuning settings of the CVJ Konoka:
(Legend: ■ = up, □ = down)
□□(Music mode) - the most "balanced" sounding among the settings, u/v-shaped signature.
■□ (Monitor mode) - V-shaped sounding with boosted upper-mids to the presence part of the treble region to a more brighter sound.
■■ (3D E-sports mode) - V-shaped with some added warmth and ambient effect.
□■ (3D movies mode) - almost the same with ■■ but marginally, it has a tad more hollow midrange and a bit brighter.
LOWS/BASS:
CVJ looks like that they have implemented a good quality dynamic driver on this one as it delivers a very tactile, authoritative and perceptibly slamming bass response as it has produces a good rumble sub bass presence and a well-textured midrange.
As with the activation of vibration/haptic motor driver especially on ■■ and □■ settings. It will add some texture on the mid-bass and at the same time it gives me an odd ambience effect and plangent sound. These settings also muddle up the lows and midrange and it somehow amalgamates the bass instruments and vocals that will certainly affect the separation of each instrument and vocals. Bass guitars have sombre, weight and resonant sound from them while bass kick drums have rumbling and sonorous sound from them. And bass-baritones have a satisfying depth and texture to have that guttural and full-bodied vocals.
MIDRANGE:
CVJ Konoka definitely has recessed presentation of its midrange frequency but has sufficiently warmth, clarity and sheen as it will give more note weight on vocals and instruments.
Here are some of my observations of sound characteristics of vocals and instruments:
□□ - The nominally the stock tuning of this set with just single DD activated, gives more texture on male vocals and mildly bright sound on female vocals. Most standard baritones have a lush and warm sound while kavalier baritones have its steely vocals and verdi ones have that vivid and darker tone. Tenors have that spiciness and brassy sound from them, while countertenors have a full and smooth sound from them. Female vocals especially contraltos have rich and full sound that gives their distinctive deep and dark tone
On instruments, they have an enjoyable tone as I listen to some percussive, strings and brass. Guitars have a satisfying bright and balanced sound as I listen to some acoustic instruments while violins have vibrant and sparkling sound to give a brighter tone. Percussives like toms-toms and field drums have these warm, resonant and sonorous sounds while snares have a sharp and clear sound. On brass instruments, trumpets have full, substantial and rounded sound while trombones have a brassy and overpowering sound.
■□ - With an added sound coming from the BA (balanced armature) driver. It gives more brighter tone as it gives an energetic and crisper female vocal-types like mezzo-sopranos and sopranos. Mezzo-sopranos have a fiery and velvety sound while sopranos have metallic and shining voices.
As on how it influences the timbre and tonality of specific instruments. It gives a crisper and brighter tone on guitars, metallic and shrill on violins, a bright and brilliant sound on concert flutes and a bright and intense sound of piccolos. And It seems that pianos have a brighter and gleaming tone with quite sharp and articulating clarity.
HIGHS/TREBLE:
The treble of this set is definitely a bright one. It has an observable boost on the upper-mids to give an energetic and gleam on females vocala and well-articulate attack and definition of instruments. There's a good emphasis on the presence range as it has a crisp and clarity on it but there are some caveats on this one especially if the BA driver was added on this one. This makes the treble's quality and quantity even more pronounced to the point that too much boosting on those particular parts of treble range will give a harsh, discordant and sibilance that will be fatiguing for a long listening session.
On the brilliance range, the □□ mode has sufficient sparkle and modest amount of treble air. And then on ■□, ■□ and □□, it further adds more flicker and shimmer and an added air on it. Cymbals have glistening and metallic sound on □□ mode and on the rest of the modes, it will sound more shrilly and metallic.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
CVJ Konoka has an average to above average sound field dimensions as it has a fairly average lateral span, decent height reach and good depth which gives me an fairly average headroom within my aural sense. Imaging projection of this one appears to have a typical 2-dimensional stereo panning where I am able to perceive the presentation of vocals and instruments in which I was able to locate them but not in a precise manner. The separation and layering of this one is decent but it will struggle on complex, multi-instrumental tracks that I usually tested on my reviews.
Cohesiveness of its driver is mostly positive but there was a particular driver that pays my attention and should be raised as a concern. While the high quality single DD was able to execute a nimble and agile transient response and the BA driver seems to deliver added clarity and resolution, the driver in question that I have concern was the new haptic/vibration motor driver. While it adds some quirks of our listening like ambient and resonating effect, it also affects the separation of instruments in the bass region and it sounds more boomy and unrefined.
On resolution capabilities, it has solid macro-dynamics while it decent detail retrieval on extracting some nuances and subtleties on infos coming from an audio track.
PEER COMPARISONS:
CVJ TXS
■ Unlike its cousin, it only has a single DD and its shell contours are rather unusual due to its triangular design. Also, this is quite cheaper as its asking price is around $10/£8.
■ Since it also has tuning switches, it offers a variety of tuning, but I can only distinguish two sonic profiles to be honest. TXS and Konoka are very similar sounding in some settings (Cellphone mode and Hi-Fi mode on the former, □□ on the latter) as both have punchy and authoritative bass, warm and consistently textured midrange but Konoka has a brighter treble response. Technicalities-wise, both sets have similar performance from perceiving sound/speaker stage proportions up to layering but TXS has more coherent driver performance while the Konoka is slightly better on detail retrieval.
TRN MT1 Max
● Like the TXS, this set has a single dynamic driver and also has tuning switches. It is also slightly cheaper compared to the Konoka's asking price
● With the implementation of the tuning switches on this one. MT1 Max offers four types of sound profiles. In general, it has a punchy bass but a bit hollowed mid bass, similar warmth, texture and brightness on the midrange with Konoka's □□ mode and similar bright and crisp treble especially on treble-boost mode. On technical capabilities, MT1 Max is a bit inferior to Konoka like Sound/speaker stage size and micro-dynamics but the rest, both have similar performance.
As I summarise my overall assessment of CVJ Konoka, CVJ Konoka is radically different from its ultra-budget peers due to its unique driver implementation. And haptic/vibration gives a different experience to its listeners. For sure that the philosophy on how CVJ design this set isn't just catered towards serious audio enthusiasts but also gamers and movie-lovers who wants to experience that reverberation effect.
CVJ KONOKA is now currently available in some e-commerce sites and you can check it out below.
★★CVJ KONOKA - SHOPEE★★
★★CVJ KONOKA - ALIEXPRESS★★
Here are my previous reviews of some CVJ products before:
■ CVJ CS8
■ CVJ CSN
■ CVJ MIRROR
■ CVJ CSK
■ CVJ CSE
■ CVJ SHINE
■ CVJ MEI
■ CVJ TXS
■ CVJ FREEDOM
■ CVJ NAMI
SPECIFICATION:
MODEL: CVJ KONOKA
IMPEDANCE: 28Ω
SENSITIVITY: 112dB
FREQUENCY RESPONSE: 10Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR
PLUG TYPE: MODULAR 3.5MM,
DRIVER UNIT(S): 1 DYNAMIC DRIVER + 1 BALANCED ARMATURE DRIVER + 1 VIBRATION MOTOR DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
P.S.
I am not affiliated to CVJ HIFI nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to the CVJ team especially to CVJ LOVE for sending this review unit. I truly appreciate their generosity and trust towards me and other reviewers.
Ling Long: 玲珑 means either delicate, intricate or exquisite according to the online Chinese-English dictionary.
And what I have here is the KZ Ling Long, It is KZ's own take on a bullet style earphone. As far as I know, they released a bullet-style earphone before. No need to introduce Knowledge Zenith or KZ as we already know their reputation and their still dominant position in the ultra-budget/ entry-level segment in the audio market.
KZ Ling Long has a single 6mm dynamic PET (polyethylene terephthalate) diaphragm dynamic driver and chambered into high quality magnetic structure to give a improve its performance of its electric flux on its drivers to deliver a more organic, more transparent and less distortion on its sound quality. It was housed in a light aluminium alloy shell of semi-opened back design which gives a less heft and its overall ergonomic design is more of a utilitarian and minimalist approach. KZ claims that its nozzles undergo a CNC-milling process to give the best possible insertion inside our ears. This earphone is a non-detachable OFC cable with a L-shaped termination plug of 3.5 mm SE.
This set is quite comfortable as it rests well into my lug holes without any issues unlike some more expensive sets which has similar form factor and has a decent sealing as it blocks some external noises coming from the surroundings. This bullet-style design even gives us more options on how we will wear them, either like a wired earbud or the cables behind our ear just like an IEM.
Like most KZ products, KZ Ling Long product packing is simple. It has packed in small, light brown-coloured box with basic inclusion but this is quite different as KZ decided to include an earphone case.
Here are the contents inside the box:
■ KZ Ling Long in-ear earphones
■ a hard PVC plastic IEM case.
■ 2 pairs of narrow-bored, white-coloured ear tips of different standard sizes. (small and large)
■ Instruction manual.
As for amplification and scalability rating, KZ Ling Long can be driven decently but you need to crank up a volume level a bit to achieve better dynamics and fuller range sonic quality so that we can enjoy its engaging and enveloping sound. It can be amplified with decent power output from either smartphone, tablet or laptop but putting them into better sources like DAPs and desktop Amp/DAC will even show KZ Ling Long's full potential.
The tonality of KZ Ling Long is leaning towards having a balanced-warmish tuning and takes a more U-shaped sonic profile. It has an elevated bass and treble and then a neutral midrange.
LOWS/BASS:
Initially, on my first impression about its bass quality, KZ Ling Long has a good punch with decent depth and quite precise on its delivery. It has a good balance on both sub bass and mid bass.
It has an adequate rumbling sound and reverberation produced from sub bass-focus tracks that I've tested from synth-pop to electronica. It has a sufficient texture on its mid bass as it gives an ample, balanced note weight on specific instruments such as bass kick drums, bass guitars and bass-baritone vocals. Bass kick drums have a sustaining and thudding sound on them while bass guitars have an earthy and broad sound of every growl and roar from either riffs, fills or solos. And bass-baritone vocals have an ample dense and dark sound quality on how they project their guttural voices.
MIDRANGE:
The midrange presentation of the Ling Long has noticeably slight recession in the overall frequency range spectrum but it has a sufficient warmth to provide some textured, balanced and decent clarity on both instruments and vocals.
Both male and female vocals are well-balanced and have a good consistency on their respective texture. On male vocals, baritones have its an ample warmth and smoothness on them, countertenor have their distinctively pleasant sounding characters due to their agile and light vocals while tenors have its enough fullness and energetic to deliver that juicy sound but I do some nitpicking on this one, probably it has a bit lacking of brassy and spiciness that I really want on this particular vocal type. As for female vocals, it gives that rich and throaty quality on contraltos, a mildly fiery and tangy sound on mezzo-sopranos. And then on sopranos, it fares better on lyrical ones rather than dramatic and coloratura types due to lack of energy and range but at least it gives that silky sound on the lyrical-types. Instruments on this one seems sounds quite balanced too that it gives buttery sound on guitars, vibrant and luscious sound on violins, a substantial and velvety sound on toms , a mellow and shuffling sound on snares, a warmer and soft tone on a piano, a smoother and darker sound on trombones and a mellow and even more sombre sound on saxophones.
HIGHS/TREBLE:
The treble quality of KZ Ling Long is very balanced, smooth and somehow linear. There is a peak on the upper mids area but that one gives enough boost on vocals and percussions. Sibilance is well-controlled and there is no hint of harshness on them.
On the presence range, it has a sufficient shimmer to give enough clarity and details on how it gives a rather lustrous yet resonant sound on cymbals. It also has a decent sparkle on the KZ Ling Long to give an average extension on its air.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
I can assure you that the technical performance of this set isn't its strongest asset based on my observations for long listening session
On its overall sonic field dimensions, it has an average to above-average sound/speaker stage width, a decent height reach and decent depth from front to back which gives a decent head room within my aural spatiality.
Imaging is rather a typical two-dimensional, stereo panning presentation as I hear the placements of vocals and instruments on both sides of each channel but it doesnt give an exact position as the presentation itself is rather hazy. It has a decent separation as it give a decent gap but layering is a challenging one that it doesn't give a distinction on both frequency and dynamic layering of each tone from instrument which might be problematic on more complex tracks like orchestras, jazz and movie scores.
On resolution capabilities, it focuses more on macro-dynamics rather than micro details. Macro-dynamics is more dominant as it shows a more physicality on its note definition while resolving on details and nuances from an audio track isn't particularly impressive.
As for coherency of its drivers, it has a very fast , better handling on its transient note and not a hint of distortion. The timbre of this set was natural and balanced sound with just slightly warmth on it.
PEER COMPARISONS:
SOUNDMAGIC E10
■ I've tested this one as a demo unit a long time ago in a local HiFi Store around 2018. It also has a similar form factor but more bulkier and also made of high quality aluminium alloy and it has more solid cable in my opinion.
■ It has a more V-shaped sound signature with punchy and precise bass response and even cleaner, a more recessed midrange but it has a better clarity and definition and treble is a bit brighter that it has that detail and sharpness.
■ On technicalities, it is actually more decent compared to Ling Long, a tad more spacious soundstage, better separation and more improvement on layering those it still struggles on complex tracks and better detail retrieval.
ETYMOTIC MC3
■ To be honest, almost all Etymotics give me a very unpleasant fit and a discomfort on my ear canals including this model as I can't take a long listening session on them. But Etys can give you the possible sound isolation like the MC3
■ As for tuning, they are rather more on "balanced-neutral" tuning. Its has tighter bass, more neutral and too linear midrange up to treble which gives a more boring, dry and almost lifeless sound from MC3. Treble is subdued, too laidback and doesn't have a sparkle.
■ Technicalities isn't MC3's asset, as it has a narrower sound/speaker stage, a glutinous and compression of elements which gives a dismal separation and layering aspect.
To sum up my conclusion about this product, It looks like KZ is finally upping their game when it comes to tuning, which leaves a good impression on me. A non-detachable cable is indeed the unfavourable feature of this set as I really prefer a removable cable in my all ear/head gears. But with its mature tuning and natural tonality, I won't mind its primary con and I will definitely recommend this one to budget-conscious audio enthusiasts out there.
It's a laudable achievement for KZ that they really fulfilled their promise to deliver some well-tuned products at a cheap and affordable price.
KZ Ling Long is now available at KZ's official store at Shopee. Check the link below.
◆◆SHOPEE◆◆
SPECIFICATION:
MODEL: KZ LING LONG
IMPEDANCE: 25Ω
SENSITIVITY: 103dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: NON-DETACHABLE
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
P.S.
I am not affiliated to KNOWLEDGE ZENITH nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to KZ especially to TYVAN LAM for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.
This quote really struck me so much when I received an opportunity to do a product review for an audio company in which I really thought that approaching them is next to impossible. I give my utmost gratitude to my audio mate who really believes in my capability as a decent audio reviewer. He is the one who's facilitating the contact between me and this audio company.
This audio company that I mentioned is Questyle (as it was already mentioned in the title above). As we all know that the brand Questyle especially to the veteran audio enthusiasts that it is a boutique audio company which has a cult following among the audio community. The brand Questyle embodies excellence in product quality and the delivery of the best possible sound quality that an ardent audiophile can derive upon.
Questyle is a Chinese premium boutique audio company whose product range mostly offers desktop amplifiers and other mobile audio solutions such as USB DAC dongles and digital audio player. It was founded in 2012 in Shenzhen by some visionary individual who wants to deliver the best audio experience with proprietary patented technologies such as CMA (Current Mode Amplification) and a 5Ghz wireless lossless audio system in a mobile and desktop-grade in a very compact form.
I'm familiar with Questyle since 2018 as their DAP, The QPR1 was a stuff of legend among the audiophiles in the audio community scene. Some even claimed that they finally found their "Holy Grail" which really even piques my interest about them even further. That's why when Questyle contacted me if I could do a review on their product, I eagerly accepted their offer without hesitation.
This is Questyle M15, It is their latest flagship headphone amp dongle which has a removable type-C connector with two types for termination jack of different power output. It is made of CNC milled aluminium alloy and has a size dimensions of 16.8mm x 27.2mm x 12mm and it is of a rectangular shape just like most typical USB DAC dongles of the same form factor. At the top of the panel, it has clear tempered glass where you can see the internals of the M15 which is quite fascinating and eye-pleasing where you can see the circuit board with its internal components like DACs, microchips, headphone jack casing, USB type-C jack casemate and their patented CMA with its transistors which I will explain later. At the both ends of this device, this is where the different types of ports situated on both opposing side, the USB type-C port on the other side and two types of termination jack, one is a 3.5mm TRS and the other one is a 4.4mm which was manufactured by Pentaconn, a Japanese brand that makes high quality audio components to other midrange and high end Hi-Fi brands like Sennheiser and Sony. At the one side of the parallel part of Questyle M15, there lies a toggle switch for adjusting the gain output manually where you can check the colour- coded status in a glass panel via its light indicator.
● GREEN LED LIGHT = LOW GAIN MODE
● RED LED LIGHT = HIGH GAIN MODE
Furthermore for decoding sampling bitrate, there is also a dedicated LED light which is also placed at the opposite side with the gain light indicator. Questyle M15 can support PCM lossless format like FLAC, WAV and ALAC up to 32-bit/ 384KHz and DSD format up to DSD256(native). MQA decoding via streaming services like Tidal is also supported and can unfold up to 8x via hardware decoder processing renderer of its DAC.
■ DATA GREEN LED LIGHT - 16-32 bit, 44.1 KHz - 48 KHz.
■ DATA RED LED LIGHT - 16-32 bit bit, 88.2 KHz - 384 KHz / DSD 64, 128 and 256.
■ DATA MAGENTA LED LIGHT - MQA decoding and unfolding (works only in Tidal)
Other component parts of the Questyle M15 are the DAC, Amplifier and a power management module which I will divide it into parts.
ES9281AC is Questyle M15's internal DAC chip. It is ESS' latest flagship DAC which is mainly used for USB DAC and other mobile applications to achieve a processing and decoding execution similar to some desktop grade DACs. It also has a built-in high performance SABRE amp to achieve up to 2 Vrms output. There is also a jack detector on it that serves as "impedance sensing" to regulate a power output to load with proper resistance value to avoid unwanted erroneous reading due to external sources such as moisture and dirt.
CMA (Current Mode Amplification) is Questyle's proprietary patented technology crown jewel. It is a System-in-Package module which has multiple "audio amplification engines" with unified parts of circuits, chips and transistors in a single enclosure of a package to deliver an accurate, excellent detail retrieval and ample dynamics for a high quality sound reproduction either from a studio or recorded live performances. With its transistors and advanced circuitry to regulate voltage output and amplification, it manages to achieve a performance peak similar to a Class A amplifier (you read it right, an almost Class A amplification performance). There are two CMA modules that are implemented in the M15 dongle. You can check more infos about the CMA technology HERE for more technical description.
For its power supply module, It uses an analogue IC voltage regulator from Torex Semiconductor which is a Japanese firm that has years of experience in IC manufacturing and with extensive R&D to provide a better power efficiency and regulates well the temperature inside of the Questyle M15 to avoid overheating.
Questyle M15 packaging is quite simple when it comes to inclusions but still looks premium and elegant in presentation on how its contents inside are properly stacked in order.
Here are the included accessories inside of the Questyle M15's packaging box:
■ Questyle M15 USB dongle.
■ Short USB Type-A to USB Type-C cable.
■ Short USB Type-C to USB Type-C OTG cable.
■ Basic instruction manual.
■ Warranty card.
Bonus: Questyle also included an M15 Leather Case in green colour.
Like all USB DAC/Amp dongles, M15 is also a plug-and-play device with its handshake protocol to bypass any devices' stock audio resampling system by using a specific apps (for Android OS), streaming apps setting options (Tidal, Apple Music and Amazon Music) and Desktop OS settings (Mac OS, Windows and Linux). With a plethora of supporting devices like Android smartphones, Laptops, Personal Computers, Tablets (Android and iOS) and DAPs, Questyle M15 is indeed a very versatile tool for a mobile hi-fi tool.
If you are an iPhone user, you need a Lightning to Type-C cable which can be purchased from Questyle's official site.
Here are some information regarding the prerequisites on recommended versions of major operating systems and required apps for supporting playback for M15 in Android.
Android OS - you need at least a 5.0 version up to the latest one. The music apps that support Questyle M15 dongle are UAPP (USB Audio Player PRO), Hiby Music Player, Neutron App and Onkyo HF Player.
Windows OS - at least Windows 10 version 8.13 with no additional driver installation.
Apple MacOS - works mostly in all versions without any additional driver installation requirement in the system.
Linux OS - like MacOS, it works pretty well in all distros like Ubuntu, Debian and Linux Mint without any necessary driver installation requirements.
iOS/iPadOS - latest OS version that supports Apple Music app in lossless mode.
Regarding its power output delivery, Questyle M15 currently has the strongest power output in my current collection and some USB DAC/Amp dongles that I've tested in the past. Planars IEMs can be driven properly without breaking a sweat with impressive results. So harder-to-drive cans and some power demanding IEMs will be amplified properly. Even on some super sensitives, low impedance finicky IEMs, there is no hissing nor scratching sound present within its sonic background.
Here are more technical specification in power output rating on both audio jacks (Datas are provided by Questyle)
● 3.5mm TRS/SE= 300 ohms, Po= 11.97mW
VDF=1.895 Vrms, THD+N= 0.0045%
● 4.4mm TRRS/Balanced= 300 Ohms, Po= 22.60 mW
VDF= 2.624 Vrms, THD+N= 0.00057%
Due to the absence of hardware volume key buttons on M15. Adjusting its volume level will be done via volume key buttons or knobs of devices sources. Android music apps that supports USB DAC dongle has better volume steps with gradual incremental gain while adjusting the volume amount based on your preferred listening level.
Another reminder that Questyle M15 doesn't have a built-in battery and it acts like a parasitical implement with its host device's core power source to syphons off some amount of power to amplify the head/earphones. Due to the Torex power management system tech, Questyle M15 power extraction on its device host is well-regulated and its draining power is somewhat minimal with efficiency. So it is advisable to have a mobile device that at least has a high capacity battery for a longer usage to act as host for this implement.
As for tonality aspect, Questyle M15 has a balanced-neutral tuning with very clean, flawless, organic, sufficiently crisp with high degree of resolving yield. This is one of the most uncoloured sounding devices that I've encountered to a greater degree.
LOWS/BASS:
When it comes to bass quality, it is very clean, articulate and very responsive with adequate texture in both parts of the bass region.
Sub bass has excellent depth reach as I discerningly felt those rumbling sound. Listening on sub bass focus tracks from some genres like Hip-hop, RnB and Synth-pop has a very detailed reverberation produced by low tuned bass guitar, synthesizers and some electric drums.
Mid bass has an ample texture to give a body on these specific instruments like bass trumpets, bass guitars and bass drum kicks. Bass trumpets has this realistic tone as sound very intense, warm and full sounding just Ive listen to orchestras and military parades, bass guitar has a very topping quality that its growls have these crunchy dark, heavy and very resonant and even slapping, fretless and other type on picking on every strand is even well-detailed. And the bass kicks are very authoritative that exudes being thunderous and pounding one as the bass kick drum sounds like that as realistic as possible. (I usually attend on some underground musical gigs from Metal to Skas)
Bass-Baritone vocals have even garnered my attention on how it is presented in a guttural and strong manner. This bass quality should be presented in a very organic way, not too boomy nor too lean sounding.
MIDRANGE:
Unequivocally, this is a very impressive and awe-inspiring midrange quality. Pristine, neutral and translucent that I even sense those layering elements of instruments and vocals. (I'll explain later in the layering aspect on technicalities part of this review).
Male vocals has an ample texture that gives a definition of being cohesive to all vocal types and ranges from a guttural bass voice to stately tenor vocals with its brassy and dazzling nature (love to hear those Three Tenors vocals especially Pavarotti). As for female vocals it has this sense of being organic, clean, very detailed, rangy and energetic. I'm a midcentric type of listener so I want my female vocals to be articulate, delineated and dynamically vivid. To describe the qualities of female vocals, I can enumerate in many possible descriptions. angelic, euphonic, luscious, well-modulated and sensuous that it really pleases my hearing senses in a very captivating and pleasant manner. All these descriptive characteristics exhibited in all female vocal ranges from a soulfully and sombre contralto to a vibrant and vigorous sopranos.
All types instruments ranging from percussives to strings have very natural and life-like sounding in a very engaging not to sound exaggerated and inaccurate tone that most coloured sounding usually exhibits as M15 maintain to sound uncoloured and equitable as possible. On percussive side, tom drums have this hard and majestic sound every hit by a drumstick, snare drums sound very precise, sharp and penetrating that its rhythmic attack is well-appreciated with accuracy. While timpani has this dull,dry and velvety sound depending on how it will be executed in different note ranges. As for strings instruments, it is so detailed that I clearly hear every pluck in each string of a guitar (Tears in Heaven live by Eric Clapton) and surprisingly, if you are aware the different tonal attributes of a guitar (acoustic) and very familiar with its choice of material usually types of wood that affects the guitar's overall tonality, you will notice the different tuning of it either it is warm sounding, balanced, dark, meaty or crisp. Violins have these different sound characteristics like lively, brilliant, rough or austere as it depends on the quality of construction and tuning of it. Brass and woodwinds are depicted in a natural and realistic manner that trumpets has that metallic and brilliant sounding, Horns has this muffled and velvety sound, Flute and fife has this bright, whistling with a sense of airiness and lastly, the sound of clarinet has these characteristic of lustrous and lively sounding.
It's too long to elaborate on how the midrange quality of Questyle M15 is beautifully well-rendered, and that it is very accurate, has an excellent detail restoration with greater degree of resolving without some colouration.
HIGHS/TREBLE:
As a neutral sounding DAC/Amp, Questyle M15 exceeded my expectation of the quality of treble. It is very natural and inoffensive, neither too smooth nor aggressive in presentation. I contentiously believe that this is the truest representation of treble quality. Exceptionally detailed, with just a sufficient amount of shimmer not too make it more brighter and very airy with lots of harmonics.
Cymbals' sounds are precisely depicted in an instinctive manner as their sounds are very metallic, glistening, brilliant and sizzling. Hi-hats has this raw sound that it portrays its innate sound to have this shortened sizzle and buzzing characteristic.
Of all these impressive feats of Questyle M15 on how the treble quality was tuned. It managed to balance out and even improved those inherent character weaknesses of both aggressive and dull, dark tuned treble.
GENERAL TECHNICALITIES:
As highly resolving DAC/Amp mobile Hi-Fi dongle with the highest degree of superb technical performances, Questyle M15 is a highly capable that it has a good gap and spacing of all the elements inside of a track with a very orderly placement of every distinction of dynamic and frequency layering with in a clear, pitch-black sonic canvas. Imaging is very perfectly executed as I clearly locate the placements of vocal(s) and instrument with no sense of haziness and obstruction in a 3D-like sense of immersion.
Regarding its soundstage proportion, its width dimension is fairly more of an above average, with excellent height and a well-defined placement between front and rear as it does have less reverberation with just sufficient amount of projecting energetic streak to have that sense of immersion and envelopment. Despite of that above average soundstage, it does have a spacious head stage within its perceived spatial field.
As for tonal colour, Questyle M15 is certainly neutral with almost to none amount of colouration. And with its exceptional resolving on detail retrieval on both micro-details and macro-dynamics and superb clarity, Questyle M15 is a fine piece for audio reviewers, audio professionals and audiophiles alike that a terribly produced and defectively mixed track will be thoroughly dissected to expose its flaws from sonic artefacts to audio clippings.
PEER COMPARISON:
AudioQuest Dragonfly Cobalt (£258/US$300)
● Currently, the most expensive USB DAC Dongle that I have tested until now. Cobalt has a smaller form factor compared to Questyle M15 and it has hardware volume control button which is a more logical and more convenient implementation. But there are some caveats on Cobalt, it has only one single jack output and it is a 3.5mm SE and it is certainly designed for PC or laptop usage as it has a USB-A as its main connector which if you are a smartphone user, you really need some adapters which add more complexity and hassle.
● Regarding its tonality, Cobalt has a tad of colouration with its overall frequency range spectrum compared to M15 which is more neutral and organic sounding but Cobalt has still a clean and clear delivery. Different tuning for different folks, which you will choose? A warmer and musical Cobalt or an unadulterated and a bit clinical tonality of M15?
● On paper, Cobalt has limited playback resolution as it was only capped up to 24-bit/96KHz but it has Tidal MQA playback support. Both Cobalt and M15 has ESS DAC on their internals but different model, Cobalt uses a popular and reputable ES9308Q2M on its system and microcontroller power management chip from Microchip Technology Incorporated which is also a reputable company (they even have manufacturing plant here in my country). Cobalt has a bit wider soundstage but M15 has better imaging, separation, layering and resolution capability. Cobalt's power output is a bit underwhelming compare to M15.
LOTOO PAW S1 (£146/US$169)
● I've tested this one a few years ago from a friend, Paw S1 has also a solid built device like M15 and it's also made of metal alloy and if my memory serves right it's a bit more weighty compared to M15. It also noted that it has a small LED display to check the volume level and EQ mode…Yes, it has a volume control button and EQ system. PAW S1 uses a DAC chip from highly regarded audio solution maker, Asahi Kasei with its AKM4377 model.
● As for tonality, S1 is more coloured sounding due to added warmth but it has a velvety and luscious midrange in which AKM DAC is known for with its Velvet Sound tech. I can safely say that Lotoo PAW S1 is more for fun sounding and pleasurable musical tuning rather than for critical listening.
● It has lesser power output compared to M15 in both 3.5mm and 4.4mm but good enough for IEMs and earbuds. Most technical aspects are a bit inferior on S1 but at least it has a wider soundstage and even more spacious headspace.
As I end my review and put a verdict on this one, All I can say is that Questyle M15 is an absolutely outstanding mobile device in another higher-tier category. It has tremendous sonic quality performance and top-notch technical performance which only rivals some desktop-grade DAC/Amps in midrange and even some top-of-the-line Hi-Fi range ones in my humble opinion. (Still desktop DAC/Amps and Preamps has many functionalities and has a proper amplification within its circuitry to handle high powered and demanding speakers and headphones).
And now regarding the tale that I've mentioned a while ago about the "Holy Grail" thing on a Questyle DAP. Looks like that I finally have an enlightenment on how great Questyle products are, and my scepticism on that man's claim seems to be eroded and shattered and I became a true believer in Questyle (I'm an irreligious bloke though). Once again, Questyle M15 delivers a truly marvellous neutral tonality and a life-like timbre with a highly-resolving and terrific technical performance that truly Questyle will be proud of their prowess and elan in audio engineering.
Questyle M15 is currently available to all online stores in popular e-commerce platforms. If you are really interested in purchasing this device, you can order them directly from Questyle in the link below this description.
☞●QUESTYLE OFFICIAL STORE●☜
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
P.S.
I am not affiliated to QUESTYLE nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to thank to Mr. Zach of QUESTYLE for providing this review unit. I truly appreciate their generosity towards me and other reviewers.
Zerstorer_GOhren
@RemedyMusic Thanks mate!
o0genesis0o
Great review, mate! It seems that every where I look, I see praise for M15. When I reviewed the S9 Pro recently, I couldn’t give it more than 4/5 because the spectre of M15 is always on the horizon. It seems M15 is not as draining as S9 Pro 
Will try to grab one to review one day, after upgrading my top IEM (likely forever, because I keep buying cheaper new stuffs for review
)
Will try to grab one to review one day, after upgrading my top IEM (likely forever, because I keep buying cheaper new stuffs for review
)
Zerstorer_GOhren
@o0genesis0o thanks mate. I'm glad that you are enjoy reading my content.
