"Music produces a kind of pleasure which human nature cannot do without."

~~Kong Fuzi/Confucius, Chinese philosopher during Zhou dynasty.


SIMGOT or XINGGE is on the blitzkrieg mode right now since the introduction of SIMGOT EA500 on the international market as if it revolutionise a single dynamic driver which was quite well-tuned one for just in under $100 with superb build quality that really punches above its asking price.

What I have here is SIMGOT's latest model for the entry-level segment and this time it has a different driver set-up unlike their previous releases.This is SIMGOT EM6L, it has a hybrid driver configuration consisting of a single dynamic driver and four balanced armature drivers on each side.



The dynamic driver is a 8mm polymer diaphragm in a dual cavity set-up that solely handles the low frequency while the midrange and high frequencies will be held by the four (4) custom balanced armature drivers. The drivers were enclosed in a composite shell chassis made of CNC-milled metal alloy that was carefully buff to have that mirror-like finish on its shell chassis and a resin cavity base that was moulded via 3D-printing to ensure better dampening on acoustic resonance. The overall build of its shell chassis will give a solid structure yet ligh enough to be worn for a long listening session. SIMGOT decided to use a QDC-type 2-pin connector as they have their reason particularly for the implementation of an array of drivers on its medium-size shell structure.



SIMGOT EM6L ensures a better fitting and comfort as they snug well into my lugholes without any issue. It also has a good sealing and noise isolation that is able to block some external noises from the outside surroundings.



It appears that SIMGOT includes a stock cable on EM6L and it is somehow of a decent quality. It has 2-core silver-plated oxygen-free copper wiring that was coated with a clear insulating material to have a better signal transmission. The termination plug is a 3.5mm SE and it was gold-plated to have a better resistance against heat, wear, tear and corrosion.



The product packing of SIMGOT EM6L is somehow impressive to give a pleasant unboxing experience of its packaging box and the contents inside are well-organised.



Here are the following contents inside of its box:


■ Pair of SIMGOT EM6L IEMs

■ Stock cable

■ 3 pairs of white-coloured balanced bore ear tips

■ Oval-shape zippered IEM case

■ Paperwork like instruction manual and warranty certificate.



With a normal impedance and high sensitivity rating, EM6L is quite an easy to amplify set that some devices like smartphones and tablets which usually have an average power output of under 1Vrms. Putting up a decent power output on this set will deliver a full range and vivid sound.


In terms of its tonality, it appears that EM6L has a U-shaped sound signature that specifically targets that Harman-style target curve. It emphasises more on sub bass and upper-mids which makes it a more ambivalent tuning among the audio community with this kind of tuning.



LOWS/BASS:

This type of target curve is known to favour more on sub-bass presence than the mid-bass to give that clean and tighter bass response but at the expense of less textured, mellow and inadequate slam that affects certain tonal colours of some instruments and vocals and EM6L have these characteristics on its bass response.

I clearly hear a good rumbling and reverberations from sub bass focus instruments like low tone bass guitars, drum machines and synthesisers. Mid-bass has enough texture just to give a punch on some instruments and a decent depth on male vocals although I still hear it as a bit hollow in my opinion just like most of the set that follow this particular target curve. Bass guitars have a hollow and sombre sound while cellos have a bit muffled and less weighty in my liking. Bass kick drums sounds rather soft and hollow in my liking and bass-baritone vocals seem to have lack of depth and less darker tone.


MIDRANGE

I initially noticed a tad recession of its midrange on this set but it is able to deliver a clean and transparent presentation. It sounds a bit lean and lacks depth especially on some vocals especially on most male ones like baritones and tenors and also contraltos but it performs well on mezzo-sopranos and sopranos as they sound crisp, energetic and expressive. Baritones have some vocal characteristics which are a bit too smooth, mellow and velvety in my liking which will somehow get along with lyric baritones than kavalier and dramatic types. Tenors sound a bit mellow, less warmer and bright in which lyric tenor will fare better than spintos, dramatic tenors and heldentenors in which they need a heftier, richer and darker tone. The late Luciano Pavarotti was a spinto/dramatic type of tenor singer but he sounded like a lyric type one on this set (La Donna e Mobile). Both countertenors and mezzo-sopranos have similar characteristics as they have a smooth, graceful and tender sound. Contralto vocals seem to have a lack of richness and lush sound that should sound richer and have a darker tone. Sopranos seems to project a silvery and silky sound that this set is able to render.

On instruments, it's rather quite a mixed bag on this set. while it delivers a good tonal colour on strings and woodwinds, it gives less engaging and lethargic sound on percussives and some brass instruments. Strings like guitars and violins have a crisp, bright and vibrant sound from them and woodwinds like piccolos, concert flute and clarinets have light, bright, soft and graceful sounds. On brasses, trumpets have rounded and softer sound while horns have a tad muffled, soft and mellow sound, and then on trombones, they also have a bit soft sound with less darker timbre. On percussion, snare drums have a bit muffled and dry sound, toms have less resonant and hollow sounding, then kettledrums sound dull and hollow as they don't have enough depth to sound at least more substantial and rumbly. Pianos sounds more balanced and it has an even tone to make them sound more pleasant.


HIGHS/TREBLE:

The treble response to this one is well-balanced and smooth as it has mild emphasis on the upper-mids just to give a sufficient presence on vocals while providing a decent attack notations on both percussive and rhythm instruments. Sibilance is well-controlled while there's not a hint of jarring and harshness although there are some instances that it might sound shrilly due to an energetic presence.

Brilliance treble on this one seems pretty decent as it has a sufficient airiness and enough sparkle on its harmonics. Cymbals have a crisp and glistening sound with some added sizzle while hi-hats, timbre were depicted accurately on this set as they have that distinctive chick sound. Celestas have a velvety and glassy sound, then on glockenspiels, they sound rather shimmering and thin.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

On sound/speaker stage presentation, it has an above average overall proportion, naturally wide on its lateral span, a good height reach and depth distance from front to back that it gives me fairly moderate head room within my aural sphere.

On imaging projection, it manifests a typical 2-dimensional stereo presentation where I was able to locate the placement of instruments and vocals within its spatial auditory. Its separation and layering aspects are passable as it has good spacing on each instrument and voices while its tonal and frequency layering are decently arranged although sometimes, it projects two layers rather than three or four.

Cohesive performances of its multi-driver set-up is quite impressive. Its dynamic driver able to deliver a fast transient response while its balanced armature drivers able to deliver a clear and articulate sound with less metallic and tinny sound which is associated with "BA timbre".

Regarding its resolution aspect, It has good micro-dynamics as it is able to retrieve some detail and nuances from an audio track while it has a sufficient texture on its note to give a variable onsets of its instruments' specific frequencies while maintaining an optimal and gradual decay on its macro-dynamics.


PEER COMPARISONS:

KIWI EARS QUARTET

■ Like EM6L, QUARTET also has a hybrid driver configuration, two dynamic drivers and two balanced armature drivers. But the difference between them was that this set was housed in a resin shell structure and also has tuning switches for variations of sound profiles.

■ Due to the implementation of tuning switches, it gives the QUARTET more versatility but it is still leaning towards a warm, U-shaped sound signature. It has boomy bass due to more emphasis on mid-bass, a recessed yet warmer and lusher midrange and smooth but less brighter treble response with a meagre air and meagre sparkle. On technicalities, QUARTET perform quite average to below average on this aspect due to its narrow sound/speaker stage, less refinement on separation and layering and poor micro-dynamics due its blunted definition on detail retrieval.


TANGZU FU DU

■ This is also an IEM with hybrid driver set-up but it has lesser driver quantity as it has only one dynamic driver and two balanced armature drivers. They have a similar shell chassis as it is also made of composite materials but the difference is that the FU DU's interlocking mechanism on its connector uses a proven 2-pin connector.

■ Regarding its tonality, FU DU has a U-shaped sonic signature with a balanced-warmish tuning profile. Compared to EM6L, It has more texture and depth of its mid-bass, an even and consistency on its midrange albeit its a tad depressed on its overall frequency presentation and a smooth and balanced treble response but its lacking a bit of air. On technical aspects, FU DU has average to above average overall proportion of its head room, a bit linear 2-dimensional stereo imaging and fairly decent layering and separation. What makes the FU DU have advantage over EM6L was its more solid macro-dynamics.


As I concluded my review on SIMGOT EM6L, this set offers the best product proposition on its price segment that it will cater a substantial customer due to its quality and sound quality. Speaking of its tonality, to be honest, I don't really adhere on current standard Harman-type of tuning as it doesn't give me that engaging and emotive factor while I'm listening on my preferred library tracks and it appears that SIMGOT EM6L follows this particular target curve which is rather a mixed bag in my humble opinion. For listeners who wants a more Harman-type of tuning, I will definitely encourage them to try this set out as it will surely suits on their preferred tuning and SIMGOT has a develop a good reputation in the audio community.


SIMGOT EM6L is now available on their official store, check the link below.

http://www.simgot.com/en/products/detail/30.html



For more SIMGOT product reviews, check out the link below.

■ SIMGOT EA500

■ SIMGOT EW100P





SPECIFICATION:

MODEL: SIMGOT EM6L
IMPEDANCE: 26Ω
SENSITIVITY: 119dB
FREQUENCY RESPONSE: 8Hz – 40KHz
CABLE LENGTH: 1.2m
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR (0.75mm)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): 1 DYNAMIC DRIVER + (4) 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 *
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 providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

Digital Audio Players or simply known as DAPs are types of multimedia devices that are specifically for listening to high-quality music. Not simply listening to it but to be more immersed in the high fidelity audio quality that few selected portable media devices are able to offer. These devices have unusual components such as powerful amps, high quality DAC audio chips and complex circuitry for better power delivery. With the absence of headphone jacks on current smartphones and if adding a DAC/Amps dongle is a bit of a hassle for portability to be put in a pocket, DAPs are the logical solution for portable audio enthusiasts.


HIBY Music is one of the well-known audio companies that specialises in making this kind of multimedia devices and they have extensive experience, with their dedicated research and development team along with strong logistical support and capable marketing arm for altogether developing, making and selling such portable DAPs. HIBY Music DAPs are quite well-known have a good reputation in the audio community for overall performance and build quality.



What makes this review article even more special is that this is actually my first product review on a DAP device. What I have here is their latest device, The HIBY R6 PRO II. This is HIBY's current DAP model in the midrange segment and like some of its competitors, it is loaded with advanced audio technology features that an audio enthusiast could ask for.



On physical aspects, HIBY R6 PRO II is quite large and has a thick profile for a DAP compared to some DAPs that I've tested before but it has its benefits that will be more functional and usable. It has 5.9 inches on its screen with a 1080p resolution on its IPS display to give a more vivid and crisp colour reproduction for viewing its user interface.



In the left side of the panel, there are some buttons with some basic functions for Play & Stop, Next and Previous tracks. There's also a micro SD card slot for more extended capacity for more audio tracks. On the right side, there is an LED indicator for charging and determining the sampling rate or type of an audio codec in which I will post it later and another set of buttons for power and volume control. At the bottom part of this device, there are some interfaces for both analogue and digital. The placement of these audio interfaces are quite symmetrical that there are four different types of audio jacks on both sides while a USB Type-C port is at the centre part. The said audio jacks are of 3.5mm SE and 4.4mm Balanced interfaces which are divided for different types of output, the Line out (LO) which is generally use for desktop power amplifiers and Power out (PO) which is a standard use for headphones, earphones and speakers. All the interfaces are gold-plated to ensure better resistance to corrosion while enhancing its conductivity and lessening its wear and heat for longevity of its ports. The USB type-C is a 2.0 and also compatible with 3.1 protocol that can maintain up to 10Gbps of data transfer speed and it can support both Qualcomm 3.0 fast charging and PD (Power Delivery) 18w to replenish the battery power faster.



At the rear part of R6 PRO II, there we will look upon its asymmetrical design element on its back plate which is quite futuristic and also, it seems that it takes some design cues from hyper cars. On its back plate, there is a wavy patterns on the bottom part while at the centre, there's a triangular shape where the HIBY logo print was etched. At the top part, there is a carbon-fibre sheet that was topped with high quality tempered glass.



In overall construction, HIBY R6 PRO II's case chassis is made of a solid aircraft-grade CNC-milled aluminium alloy and it has a total dimension of 147.45mm x 75.2mm x 15mm with an approximate weight at 285g which makes this portable device on a heftier side. With its sturdy builtd quality, R6 PRO II is indeed a very solid device that can take some heavy and rough usage.



Regarding its LED colour indicator, here are some description of its colour code:


RED - Charging mode

CYAN - 24 to 32 bit, 96Khz to 1536KHz PCM mode

BLUE - Pause mode

GREEN - MQA decoding mode, rated unfolding up to 16x

YELLOW GREEN - 16 to 24 bit, 44.1 - 48Khz PCM mode

WHITE - DSD mode, rated up to DSD1024.


Inside of its structure, HIBY diligently implemented the best possible components on this device. This one has a mid-range processor, the Qualcomm Snapdragon 665 that was known to be a reliable chipset despite its age, and it has decent speed and processing power up to 2 GHz. It also has an A.I. to support some capabilities like better sensors, improvement tasks on software algorithms and biometric systems. The chipset itself has quite capable connectivity like Wi-Fi and Bluetooth. Its Wi-Fi spectral band can support up to 5GHz for seamless connection on streaming to your favourite music service, while its Bluetooth connectivity which has 5.0 version which offers better wireless connection with less latency. With its bluetooth capabilities, The HIBY R6 PRO II will be able to support advanced Bluetooth codecs like Sony's LDAC, Qualcomm's aptX and aptx-HD aside from basic ones such as AAC and SBC along with its TrueWireless Stereo Plus Technology. Another feature of its bluetooth capability is that HIBY has a proprietary bluetooth codec, UAT (Ultra Audio Transmission) that can receive up to 1200 kbps and can support up to 24-bit, 192Khz which is quite a feat for wireless connectivity, and it also has a 2-way system that enables a wireless audio output to serve as a receiver for wired earphones and headphones.


HIBY R6 PRO II has a Li-ion battery with a capacity of 5000 mAh/3.8V. As for its play time rating, on Class AB mode, 3.5mm PO is over 8 hours while 4.4mm PO is around 7 hours, while on Class A in which I don't really use it as I don't have a desktop amplifier, according to HIBY's official specification, it has a play time duration up to 5 to 6 hours due to its power demanding. As for thermal build-up, this device does really get noticeable warm in a normal operation during long play time usage, approximately an hour.


The most critical components that DAPs truly differentiate itself from other modern portable multimedia devices were the application of audiophile-grade Hi-Fi DACs, powerful headphone amplifiers and more complex circuitry design that works in tandem with power supply, oscillators and amplifiers with its bipolar transistors. These components are of high quality and the latest generation of its architecture that few TOTL flagship DAPs can have and HIBY was able to accomplish it with this device.


HIBY R6 PRO II uses the latest generation of AKM (Asahi Kasei Microdevices) DACs, the AK4191EQ and AK4499EX in dual configuration. These DAC chip ICs' are known to be power efficient as it maintains a degree of low distortions and low noises while maximising its sonic quality. Like all AKM chips, it still retains their proprietary sound architecture, The Velvet Sound Technology, in which AKM claims that it delivers an exact and accurate sound reproduction that our ears could perceive naturally.



These DACs are implemented on their All-In audio architecture which is a complex circuitry with I/V conversions, analogue switches and outputs for single-ended and balanced operation. It is also supported with an array of discreet power supplies which their respective inductors are shielded while it has low resistance and high fluctuation rating for better performance on their respective tasks like decoding and output staging with a very minimal chance of power impedance. HIBY also implemented some crystal oscillators from a reputable company that specialises on crystal oscillators, signal generators and millimetre-wave converters, NDK (Nihon Dempa Kogyo). And these crystal oscillators will activate its mechanical resonance via vibration and it will generate precisely some of its electrical signals with jitter and ultra-low noise phases for well-defined analogue sound, better dynamics and improved sonic clarity.


Regarding its amplifier interfaces, it employs both Class A and Class AB modes and can be switched via status bar. The Class A amplifier was powered by dual Texas Instrument OPA1652 along with NXP bipolar transistors for rectifying and filtering current output , faster transient response and eliminating some crossover distortion.



As for its power output rating, On paper, It is rather less remarkable and a bit power conservative visually as it has only 125mW on a 3.5mm single ended output and 383mW on a 4.4mm balanced jack in a 32 ohms load which might be an issue to some power hungry cans but right now, I only have IEMs to pair with it and most of them have low to normal impedance rating. This device is suffice enough to drive most of my IEMs and even with magnetic planar transducers which are notoriously power hungry for its output requirement, R6 PRO II will easily amplify them without any issues. I even think that this device could be paired with some IEMs that are quite finicky and very sensitive to sources like Campfire Audio Andromeda.




For more technical explanation on concerns regarding its power output, check it out here for more comprehensive detail.


With the latest generation and very capable audio chips that this device has, it has one of the highest decoding capabilities in the midrange DAP segment that can process a very high sampling rate and bit depth on both PCM (Pulse-code modulation) and DSD (Direct Stream Digital) formats. The PCM lossless formats like FLAC, ALAC and WAV, can reach up to 32-bit/1536KHz while the DSD native decoding is rated up to DSD1024 which is really mind blowing in my opinion given that I have some saved audio files with high bitrate. It is also noted that this device is also MQA-certified and it can unfolds up to 16x for better replay.


As for its screen resolution and mobile operating system, HIBY R6 PRO II has a 1080 x 2160 HD resolution in a 5.9mm IPS screen which is quite similar to my old flagship smartphone, LG V20. Regarding its OS, it has Android 12 in which HIBY heavily modified its UI and optimises its functionality to have a better software integration that is able to execute a system-wide bit perfect audio output and customise plug-ins. It is also noted that this device has a charging optimisation like trickling charging once its reaches an optimum power level to avoid overheating and at the same time, to extend its battery health.



This device has an internal build-in memory storage of 64GB ROM along with 4GB of RAM. With the inclusion of memory card slot on this device, we can expand the memory storage with microSD cards that can support up to 2 terabyte theoretically.


On its software aspects, The status and notification bar retains some of its basic features that a typical Android UI has like Internet, Bluetooth, Auto-rotate and Settings but HIBY even added more functionalities and settings specifically for audio improvements like advance audio settings, gain mode and amplifier switch mode. Overall, its user interface is pretty snappy and responsive and it appears that it supports multi-touch capacitive contact gestures.



Under audio settings, there's a digital tuning filters to choose from, amplification operation, gain mode, plug-ins (system-wide), MSEB (Mage Sound Eight Ball), DSD gain compensation, channel balance, volume level and MQA decoder.



Speaking of MSEB, this particular setting was HIBY's proprietary advanced software algorithm feature that combines parametric equalisation and sound field adjustments. This feature is quite very helpful to attained your sound target preference in a less hassle and more easy to use functionality. This one is also fully integrated into their HIBY MUSIC app.



On gain mode, there's three options to choose from, either low, medium and high gain modes. These gains will able to deliver more power output depends on the impedance requirement of an earphone or headphone.




In system-wide audio plug-ins, here are some features that you can try and do some experiment for better audio experience:

DRX10K - it adjusts and enhances the dynamics to some parts of the frequency range. It gives some boosts to have more punch and even more snappier. It somehow removes some muddiness and bloat on bass while removing some sibilance and possible harshness in treble response.

Balance - Adjustment of both left and right channel balance.

Sound Field - It adds some space in a perceived sound field, slightly improved its stereo imaging.

Fixed Sample Rate - This is rather a experimental as you might encounter no sound output from your device. It is nominally used to fix a sample rate.

Convolution - This plug-in will only take effect on PCM audio at 44.1 kHz and shouldn't be use with EFO USpatializer or EFO SVirtuallzer due to some possible technical issues.



HIBY R6 II PRO's stock music player which is a "professional" and full version of its highly regarded HIBY Music App which offers more features that makes listening to music more pleasant and enjoyable. You can choose a theme that suits your visual preferences. All known audio file formats either it is lossy or lossless, PCM or DSD, this device is very capable on decoding them all effortlessly.


The product packaging and inclusions of HIBY R6 PRO II is quite satisfying on how it was presented and its accessories were organised. Its packaging box is square-shaped and wide enough to accommodate the contents inside.




Here are the following contents inside:

■ HIBY R6 PRO II DAP

■ Leather case

■ A thick Type-C to Type-C USB cable

■ Extra screen protectors

■ USB Type-A to Type-C adapter

■ Some paperwork like instruction manual, warranty and quality control.




In regard of its tonality, with the implementation of flagship-level, audiophile-grade AKM DACs, HIBY R6 PRO II has a quite neutral sound profile on both tone and timbre, more in a line of a balanced-neutral tonality with its clean, detailed, natural and balanced texture with a tad warmth on its midrange, well-balanced bass and treble response in a pitch black sonic canvas. To be exact, it actually reminds me of how the LOTOO Paw Gold Touch sounds like that HIBY R6 PRO II is able to achieve its tonal quality for at least 80% albeit it has lower power output compared to the said flagship DAP of LOTOO. I can assure that this is not a clinical and analytical type of neutrality as it doesn't sound dry and dead in my humble opinion as it retains some of its musicality aspect.


I will pair the HIBY R6 PRO II with some of my neutral-sounding sets like HIBY Crystal 6 MK.II, LETSHUOER EJ07M, BQEYZ WINTER, BQEYZ WIND AND KINERA IDUN GOLDEN.



Note: There will be no activation of any plug-ins or software equalisers upon testing this device. It will be all in stock settings only. Only the DSD option that I only change, from DOP to Native DSD.


LOWS/BASS:

As usual for a DAP with a balanced-neutral sound profile. The bass quality of HIBY R6 PRO II is quite well-balanced with a sufficient thump, slam and depth while maintaining a clean and separation from the other parts of the frequency range.

There's an apparent sub-bass presence as I evidently felt those reverberations and rumbling sound from synthesisers, octabasses, drum machines and low tone bass guitar. Mid-bass is properly textured and well-controlled as it gives a good definition and natural sound on timbre and tonality of specific vocals and instruments. Bass guitars and double basses have similar sound characteristics as both instruments have a weight, rasping and resonance on them with a sufficient dark tone. Bass kick drums seem to have a rumbling and thudding with deep resonating tone. On bass to bass-baritone vocals, it shows that this device is quite capable of rendering its depth and weight to deliver that woolly and dusky sound with a darker tone.


MIDRANGE:

As an audio enthusiast that values and favours towards a well-textured, clean and detailed midrange. The rendition of midrange quality of HIBY R6 PRO II is absolutely astonishing as I even consider it almost flawless. The Velvet Sound of the AKM DACs are really captivating on how it presents the midrange frequency in a very natural, tidy and pretty articulate manner. While it quite neutral, it still has some musicality and engagement that won't sound too analytical.

The vocals and instruments are well-represented here to have a natural, soothing and almost tonally accurate sound to give that emotive and immersive feel. Both male and female vocals have a sufficient texture, volume and depth that I certainly feel that they sound very thorough. Baritones has lush and richness on their vocals, tenors have clear and dazzling voices and the countertenors have its typical tenderness and smoothness of their vocals. Regarding female vocals, contraltos have a smoky and husky voice while mezzo-sopranos have their fiery, radiant and smooth vocals. And then on sopranos, they are able to project an energetic and airy vocals as I hear a silvery, creamy and silky sound in any type of this specific vocal type.

As for instruments, they all sound natural, precise and well-detailed. Strings like guitars and violins have a crisp, brilliant and vibrant sound from them. On brasses like trumpets, trombones and horns, trumpets have rounded, brilliant and vivid sound while trombones have powerful, brassy and full sound from them, and then on horns, they have these full and resounding qualities with a hint of mellowness. Woodwind instruments have its bright, ethereal, graceful, airy and reedy sound from them, whether it is from picollos, concert flutes, saxophones or clarinets. On some percussives, toms and field drums have a resonant, sonorous and full sound while snares have a sharp and clear sound. Kettledrums have a deep, booming and resonant sound while pianos has a balanced tone as it has both have an ample warmth with a noticeable bright tinge sound on it.


HIGHS/TREBLE:

The treble quality of R6 PRO II is quite neutral on how it sounds into my ears. It has an even and smooth treble response with just a hint of brightness just to give a well-rendered instrument attack and clarity on some female vocals. The evenness and cleanliness on the treble response of this device means that it won't produce any hint of harshness and the sibilance is kept under control to almost imperceptible.

This device is capable of projecting a well-extended airiness with a good amount of sparkle on it. It also gives some accurate timbre and sound characteristics on some instruments like cymbals, hi-hats, glockenspiels and celestas. Cymbals can sound either bright or lustrous while hi-hats still have its chick sound with its shortened buzzing tone. Glockenspiels have a silvery and glistening sound, and then on celestas, they have that bright and ethereal sound that we are familiar with.


SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

In terms of sound/speaker stage proportion. R6 PRO II has a naturally wide lateral expansion, good height reach and depth that gives me a fairly spacious head room within my aural sense.

On stereo imaging, it projects a holographic presentation as we can certainly pinpoint the placement of instruments and vocals in a sonic canvas. All the elements within the mix are well-separated as they have a good spacing on each other along the presentation of multi-layer of frequency tones that are well-arranged that even the most complex audio tracks like choral pieces, orchestras and jazz ensembles, R6 PRO II is very capable to play

The R6 PRO II has excellent resolution capability on both macro-dynamics and micro-detail retrieval. It has a well-texture sound with perceivable notation attacks and note ends from both vocals and room resonance. On detail retrieval, it has a good sharp definition that it was able to extract a good amount of details and nuances from an audio track.


PEER COMPARISONS:

IBASSO DX160 (DEMO)

■ This DAP was priced around $400 at the time of its release. Like the R6 PRO II, it has an aluminium alloy frame with 5.0 inches 1080p with volume wheel at the right part of the panel which makes it a smaller frame and lighter one and memory card slot for memory expansion. It was equipped with dual Cirrus Logic DACs that can decode up to DSD256, PCM 32-bit/384kHz and also a MQA-certified one. This device was operated by Android 8 and powered by an older entry-level Qualcomm snapdragon chip. This device has 3 main audio interfaces; 3.5mm SE, 4.4mm balanced and USB Type-C connector.

■ On paper, it has a more power output than the R6 PRO II as its amp staging is quite powerful, up to 3.2Vrms on SE and 6.4Vrms on balanced mode. To be honest, I'm not fond of iBasso's tuning on their DAPs as I also tested some their models, they are a bit too warm in my liking that affects the timbre and tonality of instruments and vocal, and unfortunately, DX160 also display the same type of "in-house" sound.

■ Technicalities-wise, DX160 projects a rather narrow sound/speaker. The separation and layering performance is quite sub-par compared to R6 PRO II due to less distinct and less defined placement with a bit of congested spatiality on spacing.


ASTELL & KERN SR25 MK.II (DEMO)

■ A&K's entry-level to mid-range model of their A&Norma. Like the R6 pro II, it has an asymmetrical and angular design on its aluminium shell structure which makes it handy and offers better grip. Its audio interfaces consist of 3.5mm SE, 4.4mm balanced while still retaining the 2.5mm balanced audio jack which is a staple feature of A&K series. Entry-level to midrange DAPs are usually implemented with ESS DACs but this time, A&K decided to implement as Cirrus Logic DAC along with their newer circuitry design for better signal along with its silver-plated shielding for better resistant against electromagnetic interference that might affect its output.

■ Tonality-wise, SR25 MK.II has a warmer sounding signature which is typical of A&K in-house tuning. Compared to R6 PRO II, it has a deeper bass response, a lusher and warmer midrange and similar treble response with lesser airy extension while having a good sparkle and energy.

■ This device's technical aspect is quite capable, but compared to R6 PRO II, it has a less spacious sound/speaker stage and resolution is rather above average in my opinion as the SR25 MK.II is less defined particularly on micro-dynamics.


SONY NW-A105 (DEMO)

■ This is part of Sony's Walkman series with Android OS in their midrange DAP line-up. It appears to have an under 4.0 inch screen size with decent resolution that are sharp enough to be viewed in different angles. It has more tactile key buttons as you will feel its snappier and more tactile response. It has 16GB of internal memory which is quite inadequate for today's requirements especially on DSD and higher PCM formats but the good thing is that it has a microSD slot for memory expansion. Unfortunately, it only has a 3.5mm SE as its main audio interface but at least it has a rather minimalist stock Android OS that offers smooth UI response.

■ In terms of power output, its a bit lacking but enough for IEMs with single dynamics or hybrid driver configuration. Even my LG devices have better power output than this device. As for tonality, it has that typical Sony in-house sound profile, a very warm and fun sound that simply makes it more engaging rather than to experience a better high fidelity experience. When I tested it along with CA Andromeda (also a demo unit from a store that also sells Sony products), I remember that I hear a slightly audible hiss from it.

■ Like most Sony DAPs that I've tested (including the "venerable" MW1Z), it doesn't have the best technical capabilities as it won't give you the widest sound field dimensions nor the most well-defined separation and layering that it won't able to touch the superb technical capabilities of R6 PRO II.


To summarise my assessment of HIBY R6 PRO II, this is one of the few DAPs that truly amazes me on how this device along with its rich features peculiar design cues, solidly built, new generation AKM DACs, more audio interfaces and exquisite sound quality that only TOTL flagship DAPs can offer.


As I conclude this review, despite of having a lower power output compare to some of its contemporaries, its main aspects wereits impressive decoding capabilities, remarkable technical capabilities and superb clarity on its sound quality while retaining a semblance of musicality that only few devices are able to match. HIBY R6 PRO II is one of the few devices that will probably stand among the titans in the DAP segment.


HIBY R6 PRO II is currently available in HIBY's official store, check the unaffiliated link below if you are interested to purchase it.

★★HIBY R6 PRO II - 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 *
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.

Elf/Elves are mythical creatures who have a humanoid features with strong affinity of magical energy and unsurpassed yet unusual physical features like pretty faces and elongated pointed ears in which J.R.R. Tolkien lore describes them although they were quite different from their counterparts in Norse mythology. These creatures remain to be one of the most popular races in fantasy literature.


Fellow audio enthusiasts out there, I have a product that was recently released by TINHIFI for the past few months. I'll skip an introduction of this company as I already did it before, just check out my review on TINHIFI T2 DLC if you want it to be so.



This is TINHIFI C0 ELF, it's a single dynamic driver IEM which has a bullet-style profile. It has a solid circular casing made of aluminium alloy and it is quite light too and knowing this particular material has some acoustic properties that are able to remove some unwanted resonance and vibrations generated from the driver. Also, it also seems that it has a semi open-backed design too.



The dynamics drivers that are implemented on this set are composite ones and they are in good quality as its polyurethane diaphragm was coated with titanium to have better elasticity and be firmer on its structure. These drivers will deliver a more dynamic sound that encompass the full range sonic spectrum for rigid bass and a clear and bright quality on midrange and treble.



With its rounded contours, wearing this set is quite comfortable if you pair it with the right ear tips that will seals well into our lugholes. You can even wear them in either an in-ear style or simply like an ear in which you can let it hang just like an earbud. It seems that its stock ear tips are fine as I don't encounter any fitting issues. Sound isolation is rather average when it comes to passive noise occlusion due to its semi open-back design as I was able to hear some external noises from the outside surroundings.



Upon ordering the TINHIFI C0 ELF, you can choose two types of termination plug that you prefer either a standard 3.5mm one or Type-C USB connector with a DAC chip implemented inside for mobile devices that don't have a headphone jack.



TINHIFI C0 ELF's product packaging is rather elementary and spartan; aside from IEM shell transducers, it includes a rather basic accessories for its fundamental necessities.



Here are the following contents:

■ Pair of TINHIFI C0 ELF IEMs
■ A black OFC stock cable
■ Extra pairs of wide bore ear tips in different standard sizes.
■ paperwork like Q.C. stub and instruction manual.



TINHIFI C0 ELF can be amplified well from sources with decent power output like from smartphones, tablets and other portable media devices. But pairing it with the devices with better DAC/amp will give even more dynamics and full range sounding in this set.



As for its tonality, it appears that C0 ELF has a V-shaped sound profile due to its more emphasis on lows and high frequencies while midrange was in a neutral and less forward presentation.





LOWS/BASS:

It seems that it follows the pattern of its progenitor, the original TINHIFI T2, when it comes to bass response. It has more focus on sub bass that I discerningly felt the rumbling and reverberations from certain sub bass instruments like low tone guitar, drum machines and synthesisers.

Mid bass has enough texture just to give some volume and depth on instruments like bass kick drum, bass guitar and bass-baritone vocals but I still perceive it as inadequate. Bass kick drums have a thudding and a tad softer on impact while bass guitars have a resonant and sombre sound on every strum, fret and slapping on its strings notations. And then on bass-baritones vocals, their voices have less depth and less darker tone to give that guttural and heft. Overall, with its good quality dynamic driver, it was able to give a fast and clean bass response.


MIDRANGE:

The midrange presentation of this set is quite recessed as some vocals and instruments are less prominent in the overall frequency range. But there are some advantages that this set was tuned for that most of the female vocals and on instruments like strings and some woodwinds will sound well-executed on this one. In general, the way that the midrange was presented is somehow neutral, transparent and energetic.

Some male vocals and a certain female vocal type, the contraltos have less heft, lack of richness and depth on this one that they sound less warmer and lusher on both baritones and contraltos and less brassy on some tenors. Countertenors, mezzo-sopranos and sopranos have a very expressive, vivid and harmonious sound from them on how they project their respective vocal qualities. Both countertenors and mezzo-sopranos have that vocal agileness, smooth and fiery sound characteristics from them while sopranos have a gleaming and silky sound.

On instruments, like I mentioned that strings and woodwinds would fare on this one. Guitars have a crisp and bright tone but there are sometimes that they sound a tad dry in my liking. Violins have a brilliant and metallic sound on every stroke on its bowstring. Flutes have silvery and penetrating sound while piccolos have bright and penetrating sound from it. Clarinets and saxophones have a lively and forceful sound from them. On brasses like trumpets and trombones, trumpets have such a brilliant sound while trombones have a penetrating and sinister sound from them. Percussives like snares and toms have a resonant sound although they sometimes sound dry and dead to my ears. Pianos seem to have a balanced to bright sound from them that gives me some euphonious feel.


HIGHS/TREBLE:


As I observe that it has a boosted upper mids up to the brilliance part of the treble range, this makes the treble of C0 ELF on a brighter side. It gives a good definition on some vocals and attack of instruments. It has fairly crisp and shimmer on it while maintaining a control on sibilance and jarring though sometimes I discerningly hear a tad hissing on some consonants and it is given that treble sensitives should be cautious on this kind of tuning.


I also notice that the brilliance part of the treble region has a moderate amount of air and due to elevation somewhere in the presence part that gives some sense of airiness and adds more sparkle but to my ears, it has only a modest extension in my opinion. Cymbals have a glistening and metallic sound while celestas have a shimmering sound on them, and then on glockenspiels, they have a bright and jingling sound.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

It's overall sound/speaker stage size, it has an average to above average proportions on how I perceived it on its axes. It has an average to above-average lateral span, a good vertical height reach and a decent depth between front and back that gives me fairly moderate head room within my aural sphere.

On imaging, its sound field projects a rather two-dimensional stereo presentation where I can locate the placements of instruments and vocals in both sides of their respective channels. To my surprise, that it has decently good separation and layering for its price and also the dynamic performance of its dynamic driver albeit the presentation of tonal frequencies of each instrument and vocals were stacked in two layers only instead of a multi-layered presentation but I won't budge about it as it is the limitation of a single DD.

It has an excellent driver coherency on how it performs that it delivers a very responsive and nimble on both transients and decay. Resolution capabilities are quite decent as it has a solid texture in its note weight while it has sharp definition in extracting an adequate amount of nuances and details from an audio track.


PEER COMPARISONS:


KZ LINGLONG

■ One of few KZ sets that takes bullet-style form factor but unlike C0 ELF, it uses a micro dynamic driver and non-detachable cable. It is also susceptible to driver flex whether I move my head or simply insert them to my lugholes. It should be noted that LINGLONG is way less cheaper compared to C0 ELF.

■ As for its tonality and sound profile, LINGLONG has a u-shaped sound signature with a more balanced-warmish tonality. It has more punchy bass, has a warmer midrange and less brighter and yet smoother treble response. Technicality-wise, they have similar performance with the exception that the separation and layering aspects of which LINGLONG isn't that well-defined. It is also noted that it is also a bit harder to drive too.


TANGZU CHANGLE

■ Another set with a bullet-style form, but like the KZ LINGLONG, it has a micro-dynamic driver and a non-detachable cable but at least, it has a more ornate aesthetic on its cylindrical shells. And this set is a bit less cheaper than the C0 ELF and its cable is prone to microphonics.

■ CHANGLE has a warm U-shaped sound signature as it has more punchy and slam on its bass response, a warmer and texture midrange which is more all-rounder to all types of vocals and a balanced and less brighter treble response compared to the C0 ELF. On technicalities, CHANGLE has a tad smaller sound/speaker staging and while on its imaging, separation and layering aspect are rather rudimentary and pretty basic in my opinion. This set is also harder to drive like the KZ LINGLONG.


TANCHJIM TANYA DSP

■ Both sets are comparable in physical aspect but there's a noticeable difference between them. TANYA has a USB-C connector as its termination plug and a smaller dynamic driver but it has more inclusions on its packaging box.

■ TANYA has a modified Harman target curve which is also u-shaped sounding. It has more slam and authority of its bass response while retaining its clean sound, a more texture and forward midrange and sufficiently bright treble response. On technical aspects, both have similar performance that there are only marginal differences like resolution capability as TANYA is excellent on macro-dynamics while C0 ELF is a bit better on micro detail retrieval.


As I concluded my assessment of this particular product, it seems that the way TINHIFI tuning this set is really harkened back to its popular product, The TINHIFI T2 Original in which I'm quite familiar with its neutral ish-bright tuning that really stands out of its time of its release. The TINHIFI C0 ELF truly does stand out on how it was presented, a bullet-style form with detachable cable feature and its tonal characteristics that will be distinguishable among the products in the same price range. If you are a fan of TINHIFI in-house and at an affordable and budget pricing, this set is certainly for you then.



TINHIFI C0 ELF is now available at LINSOUL, there's an unaffiliated link below for any interesting parties who wants to purchase this set.

★★TINHIFI C0 ELF - LINSOUL★★

For more TINHIFI product reviews, you can also check out my previous product review article links below.

● TINHIFI T2 DLC

● TINHIFI C2

● TINHIFI C3

● TINHIFI C5

SPECIFICATION:

MODEL: TINHIFI C0 ELF
IMPEDANCE: 32Ω
SENSITIVITY: 104dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm, TYPE-C
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 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 send my gratitude to KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

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.

"Crystals are living beings at the beginning of creation.”


~~Nikola Tesla, Serbian inventor, perspectivist and electrical & chemical engineer.


We in the audio enthusiast community are quite familiar with this audio brand, HIBY MUSIC as they are known to produce some of the most popular portable audio paraphernalias out there like DAPs, earphones and USB DAC dongles in the audio market. HIBY was established around 2011 and they have their own dedicated research and development to create some high quality portable audio products at decent price. The reason that they can provide such pricing to be affordable as possible is due to its strong manufacturing background with decades of experience and at the same time, they also have a stable supply chain for their hardware parts and other components. Aside from hardware aspect, they also have competent software development as they also develop their own OS for their portable digital audio player and a music app for popular mobile OSes which is one of the sought after app for audio enthusiasts for its advanced parametric EQ and a first choice for USB DAC dongle decoding support.



What I have here is an IEM product from them, the HIBY Crystal 6 II, which is an improvement over the previous Crystal 6 and an all-balanced armature driver setup. This product is at the midrange segment as it was priced at over US$300/£245 where it will be competing with other midrange contemporaries which are more established and quite popular to audio enthusiasts.



As mentioned, the Crystal 6 II is an all-BA setup. To be exact, it has 3 pairs of balanced armature drivers, the bass and treble pairs a customised version of a dual set-up of highly-regarded Sonion BAs and that will make it technically a hexapartite (6) driver layout per earpiece. These drivers were implemented in 3-way acoustic tubes and it utilises a electronic crossover frequency board, with gold circuit tracing for ensuring a minimal loss of signal transmission and better sonic fidelity for seamless, smoother and clear audio quality. The custom Sonion 39AY is a dual-woofer BA that will handle solely the low frequency in which I think that it is an improvement over the previous Sonion 38 series and it’s also a vented driver with accupass dampener technology for a deeper, more textured and better extended of bass akin to a high performance dynamic driver. The tweeters are custom Sonion E50DT, and the regular variant of this specific dual BA model is known to deliver a smooth, spacious and excellent treble air.




Its drivers and the other internal components are encapsulated in a resin shell chassis that were moulded via a 3D-printing process by HEYGEARS to ensure uniformity of its ergonomic design and better structural integrity. The faceplates were handcrafted and underwent a sand painting process to give a unique and distinctive pattern to each earpiece. It takes a UIEM-style form factor as it is the most ergonomic and versatile when it comes to fitting and comfort and the shell's cavity base has a large vent hole at the top part for releasing excess air pressure for more comfortable wear. And this set utilises a standard 0.78mm 2-pin connector as its detachable mechanism for ease of cable swapping.



It was partnered with a high quality cable with a modular interface for interchangeable termination plugs. The cable itself is a 4-core high purity copper cable and it is quite supple and malleable to handle though it has a termination plug which is sort of a weighty one that gives a solid build on it.




Its UIEM-style shell contours are quite ergonomic as it sits well into my lugholes without any issues so that I can definitely wear them for a long listening session. It has an excellent seal as it was able to block a substantial amount of external noises coming from the outside surroundings, despite the venting.



The product presentation of HIBY Crystal 6 II is rather utilitarian and practical on how it was packed in a medium-sized square box but at least it has a considerable amount of inclusions.



Here are the following contents inside the box:

■ Pair of HIBY Crystal 6 II IEMs

■ Stock modular cable

■ 3.5mm SE termination plug

■ 4.4mm balanced termination plug

■ 3 pairs of balanced ear tips in different standard sizes.

■ 3 pairs of vocal/crisp ear tips in different standard sizes.

■ 3 pairs of bass ear tips in different standard sizes.

■ 1 pair of narrow bore medium-size ear tips

■ a circular hard-woven fibre IEM storage case.

■ An anti-theft holder

■ paperwork like Q.C. stub, instruction manual and warranty card.



In regards to scaling on power requirement, HIBY CRYSTAL 6 II is quite exceptional on this aspect as it is one of the most sensitive when it comes to amplification and very easy to drive. My LG phones with ESS Hi-Fi DACs need only 20-30% of its volume level as it is quite pretty loud and will give a complete and dynamic sound quality. Pairing it with HIBY R6 PRO II will somehow regulate and give a proper power output to this set.




[Note: The HiBy R6 pro II, which I had together with this for review, powers these fully without a doubt, without overpowering them and there’s enough volume control granularity and no noticeable noise floor.]

As for its tonality, this set has a neutral-ish-bright sound profile as it has more emphasis and elevation on the midrange to high frequencies while the low frequency part is rather reserved and less focused on. This kind of neutral sound signature somehow plainly aligns with a reference sound that I am really fond of.


(Graph was provided by @koyawmohabal , credits to him)

[Note: The majority of conducting an assessment of this set to analyse its sound quality will be paired with HIBY R6 PRO II. And there will be no EQ or the usage of its add-on plugins unless otherwise stated.]


LOWS/BASS:

The bass quality of this one is quite impressive for a BA woofer. Like all IEMs with Sonion BA woofers that I've tested, it has that almost DD-like performance with good incisively deep and clean bass response in which a neutral-ish-bright tonality that usually has. But the vividness and punchiness of a dynamic driver is still unmatched in this regard. It's quite impressive that it has a sub bass presence as I am still able to perceive some reverberations from sub bass-focus instruments like low tone bass guitars, drum machines and synthesisers if I listened to some music genres like synth-pop, post-punk and old school hip-hop.

The mid-bass texture of this one is also noticeably denser that it will give a sufficient punch on the bass kick drum, ample roar on bass guitars and then, depth and tone on bass-baritones. The bass kick drum has a thudding and resonant sound as it is able to cope with fast double bass kicks on metal and rock tracks. Bass guitars have a rasping and sustaining sound on every strum of their string notations and bass-baritone vocals seem to have enough texture to have a wool-like and dense sound though it has a less darker tone that this particular voice type should have.


MIDRANGE:

This is probably one of its focal point on its overall frequency range presentation as the midrange frequency of Crystal 6 II was presented in a neutral, clean and transparent fashion. The quality of the midrange will give more emphasis on tonal colour of vocals (mostly female ones) and instruments to have crisp, energetic and more open sounding.

In part of vocal quality, both male and female voices have a good detail, clarity and some smoothness on its texture. And I'll begin with male vocals first, majority of baritone types have a smoothness and velvety sound while kavalier baritones has a tad metallic sound as I expect a more steely tone and verdi has a decent fullness although less darker timbre as I want. Tenors have a brassy and ringing sound of their vocals with a tinge of spiciness on either lyric, spinto, dramatic or Heldentenor as they have a sufficient texture and volume. Countertenors have smooth and tender voice qualities as they deliver their distinctive high falsetto notes. On female vocals, contraltos have a rich, smokey and sufficient lushness on their vocals as they project their low chesty voices while mezzo-sopranos have a tender, smooth and fiery sound as their voices really gives me that soothing and feathery feel. Sopranos are probably the best one for this set as it has a an energetic and spacious one as it sounds very crystalline, shimmering and metallic that all types of this vocals will be excellent on this one whether it is dramatic, lyric, soubrette or coloratura.

On how the instruments' will sound on this set, strings, woodwinds and percussives will sound very natural and well-delineated on this one as this kind of tuning will excel on mostly classical and orchestra ensembles. When it comes to strings like guitars and violins, guitars (both acoustic and electric-types) have a crisp, lingering sound and it also quite has a presence sound to in some acoustic tracks while violins have vibrant and metallic sound every motion of its bowstring. In woodwinds, concert flutes have a bright and silvery sound while piccolos have intense and piercing sound on them, and then both clarinets and saxophones have lively, sonorous and reedy sounds as I listen to them either in solo or group performance. Percussion instruments like snares, toms, field drums and kettledrums, snares have a sharp, metallic and bright sound while toms have a rustling and resonant sound. Kettledrums have resonant and dry sound and field drums have hard, clattering and sonorous sound. Chordophones like pianos and harpsichords are on the brighter side as the pianos sounds very evenly bright which gives a lively tone while harpsichords have a crisp and resonant sound as I enjoy listening to some Handel tracks. In regards of brass instruments, trumpets have brilliant, bright and shrill sound while trombones have a powerful, penetrating and tense sound, and then on horns, they have a rather a resounding and quite intense sound on them.


HIGHS/TREBLE:

The HIBY Crystal 6 II is absolutely a bright sounding set as I observe the elevation on the upper-mids on how its give a precise and sharper attack of percussive and rhythm instruments along with its boosted female vocals. It has remarkable clarity and detailed sound in its presence in the treble region. But there are some caveats on this one as it will be an anathema to most treble-sensitive folk out there as this will be a fatiguing sound for them, in that there are some noticeable shrillness and hissiness that will affect their listening session but if you are an ardent treble head, this is definitely for you. There are noticeable slight sibilance in this one too especially in tracks that were prone to sibilance.

Cymbals sounds have a shimmering, metallic and sizzling sound, hi-hats have shortened buzzing sound albeit it has added more resonance on them. Glockenspiels have a piercing and strident sound while celestas have a bright and glassy sound on them. Brilliance treble on this one is also remarkable as it has very sparkling and shimmering sound with good treble extension.

[Note: in HIBY R6 PRO II, In the plugin option, the Dynamic mode, it will somehow rectify some unwanted peaks and it adds some texture on its note weight.]


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

It has a good proportion of its sound/speaker stage as it gives me a roomy headroom within my aural sphere as it has a wide span on its sound field along with good height reach and depth on it. It projects a holographic, 3D-like stereo imaging as I was able to perceive the exact location of instruments and vocals. It has an excellent separation of instruments and vocals along with its well-defined layers of tonal frequencies and colour of each element on its overall composition in its black sonic canvas.

The cohesive performance of its drivers is quite remarkable as it has a faster transient response and delivers a detailed sound.

I also give an excellent mark on resolution capability as they have a good macrodynamics and stellar microdynamics. It has a decent amount of note texture while it has a very sharp definition on its detail retrieval as it was able to extract a good amount of details, nuances and subtleties of information from an audio track.

[Note: Again on HIBY R6 PRO II, plugins like “Sound Field” and “DRX10K Dynamics” will even further improve technical capabilities, like giving a more spacious headstage and a more vivid, impactful sound.]


PEER COMPARISONS:

THIEAUDIO HYPE 2

● This is a hybrid driver set-up and it is way less cheaper compared to Crystal 6 II. It has a dual dynamic driver in "isobaric" set-up and also uses two Sonion BAs for mids and high frquencies. Both have both appealing looking resin shells and almost have a quantity of inclusions.

● As for tonality, This set is more a mild U-shaped, probably even "bass-boost neutral", it has a more prominent bass which has more slam compared to Crystal 6 II. Its midrange especially on lower midrange have similar depth and texture on male vocals but compared to Crystal 6II, it has less energetic and particulaly not that open sounding on female vocals and woodwinds. Treble response on this one is more balanced and more smoother sounding but less airy and sparkling compared to Crystal 6 II.

● Technicalities-wise, both are comparable with their respective capabilities, but compared to Crystal 6 II, HYPE 2 has less sound/speaker width and its detail definition was less sharp but not blunted as I still consider it to have competent resolution capability.


HIDIZS MS5

● Unlike Crystal 6 II whose shells chassis are mostly made of resin shell material, the MS5 shells are made of composite materials, a hollowed resin on its faceplate and an aluminium alloy on its cavity base. It has a hybrid driver set-up and it also uses a Sonion BAs. It should be noted that it has a detachable tuning nozzles where you can interchanged with other tuning nozzles that suit your preferred sound profile

● Due to its detachable tuning nozzle, MS5 makes it more versatile to offer different types of sound signatures. The red nozzle has more V-shaped sound signature, rose gold nozzle has a U-shaped which is the most balanced sounding among its tuning nozzles and silver nozzle has a brighter U-shaped. Bass response of this set is more punchy and has a more authority compared to Crystal 6 II but the midrange is way more recessed especially the red nozzle filter. Its treble response are similar, especially the silver and rose gold tuning nozzles as they are also bright and crisp sound with good amount of air and sparkle.

● On technical competency, both sets are have similar imaging performance and resolution capabilities but the difference is that MS5 has a narrower sound/speaker stage compared to Crystal 6 II.


SEE AUDIO BRAVERY LIMITED EDITION

● See Audio's pride on the entry-level to lower midrange segment. This IEM has a similar build quality and driver configuration with the Crystal 6 II but there are still some differences. While it has similar resin shell and also takes a UIEM-style form factor, Bravery LE has a leaner and a tad smaller size. And in regards of its 4 BA drivers configuration, this set also have Knowles BAs to handling other frequency but its Sonion BA that handles the midrange frequency. It is also has modular stock cable but Bravery LE's is more premium as it was provided by Hakugei and it also included a premium ear tips by Azla.

● Tonality-wise, Bravery LE has a warmish-neutral sonic profile in contrast with Crystal 6 neutralish-bright sound. It has a fuller and impacting bass response, a bit warmer and textured midrange and smoother and well-balanced treble response which makes Bravery LE a more natural sounding and more versatile to all vocal types and instruments. Although when it comes to female vocals, strings and woodwinds, Crystal 6 II has better clarity, more shimmering and detailed sounding.

● On technical capabilities, they share similar performance in all technical aspects from soundstaging, imaging and driver cohesiveness. But the slight difference was that Crystal 6 II has tad wider soundstage width while the Bravery LE has a more solid macro-dynamics.


To summarise the overall product profile of the HIBY Crystal 6 II, it has an all-balanced armature drivers that were implemented in a resin shell chassis, a modular cable for versatility to different types of output sources. And then, its tonality took a different approach of having neutral-bright tuning while having a capable technical performance.

As I put a conclusion on this review, I will highly recommend this set to audio enthusiasts if they are looking for a neutral sounding IEM that is highly resolving, analytical with very competent technical capabilities. But for treble-sensitive folk, simply look for another set that will certainly fits your tonal preference.

HIBY CRYSTAL 6 II is now available at HIBY AUDIO's official online store, you can check out the unaffiliated link down below.

★★HIBY CRYSTAL 6 II - OFFICIAL STORE★★

SPECIFICATION:

MODEL: HIBY CRYSTAL 6 II
IMPEDANCE: 58.5Ω
SENSITIVITY: 110dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (6) BALANCED ARMATURE DRIVER(S)



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 from themas 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 hos generosity and trust towards me and other reviewers.

"Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."

~~Frederic Francois Chopin, Polish composer and pianist during the Romantic Period.

Fryderyk Franciszek or Frederic François Chopin was Polish-French composer and pianist who was well-renowned in 19th-century Europe for his virtuosic talent on pianos and created some of the finest and timeless piano compositions during the Romantic Period like the nocturnes, polonaises and mazurkas. And what I have here is a product named after him from a recently established audio company in China, Binary Acoustics.



Binary Acoustics according to their company info was established around 2017 and they already stated that they will pursue an immersive audio experience on their products. The implementation of high quality parts and components that are available in the portable audio industry will ensure a well-rounded set that will deliver utilitarian, comfortability and well-thought ergonomics as always at their main priority on creating a product along with a well-done tuning that is quite suitable for portable audio enthusiasts.



This is Binary Acoustics Chopin, and it seems that this is their first product release for the international market. It also happens that this is a product collaboration project between them and Gizaudio, a YouTube channel whose content is to publish reviews of some of the latest portable audio products that are currently available on the audio market. Binary Acoustic Chopin is a hybrid driver set-up consisting of a dynamic driver made of cermet and 3 balanced armature drivers.



Cermets (ceramic and metal ) are composite materials which are usually used on electronic components like capacitors and resistors, medical application like dental fillings and implants for hip replacement. It is one of the most important material in the aerospace industry especially on thermal shielding on jet engines and turbine engines on a rocket due to its thermal resistance properties, and it also has a high ductility and unsusceptible to corrosion.



It has a tear-drop shaped shell housing with a stainless steel faceplate and a 3D-printed acrylic resin cavity case with 3-way acoustic tubes for better crossover and somehow an improvement on separation of its frequencies. There are two vent holes on this one, the first one is situated at the off-centre at the back of the cavity base and the other one is at the side of the said part. The fitting and comfort on this one is quite comfortable despite its unique design that it sits well in my lugholes without any discomfort and I was able to have a good passive noise isolation from the outside. The Chopin utilises a 0.78mm 2-pin connector as its interlocking mechanism and I also noticed that its receptacle connector has a narrow square-shaped and the port is rather a recessed one. So doing a cable swapping on this one is somehow a bit of a challenge.




Its stock cable is a 4-core silver plated copper wirings and it was twisted to have some kind of resistance against entanglement and it has a 4.4mm balanced termination which you need a DAP or Dongle with this type of jack.



As I unbox this set, the product presentation of The Chopin is somehow unusual as it is quite utilitarian yet well-organised and the quantity of inclusions appears to be sufficient as it is able to have all of this set's basics. Aside from IEM transducers and cable, there are 3 pairs of balanced bore eartips of different standard sizes, one Pelican-like IEM container case, cleaning tool, a tiny pouch and some paperwork.



As for its amplification, The Chopin is quite power efficient as it can be driven with just about a low to medium-level of the device's volume control either from phone, DAP or USB DAC dongle. With its balanced output, it will surely have a complete and full range sound.



Sound quality-wise, The Chopin appears to have a mild U-shaped sound signature that is quite well-balanced and smooth sounding but is not all rainbows and sunshines as there will be some caveats that will hit certain tonal colours on vocals and instruments. This type of tuning actually reminds me of some sets from TANCHJIM or SOFTEARS on lows and some parts of its midrange.



(Graph of this one was provided by @koyawmohabal , credits to him)

LOWS/BASS:

Bass response on this one is rather punchy and quite rumbly as it focuses more on sub bass presence than mid bass part. Midbass appears to have fairly ample note weight as it gives a rasping sound on both bass guitar and double bass, a rumbling and menacing sound of bass kick drums. And then, I also noticed that some bass-baritone vocals are quite lacking in depth and texture to give a more guttural sound but it has clean bass after all.


MIDRANGE:

On this part of frequency range, midrange presentation has a balanced texture on its note weight, almost neutral and quite transparent, As it sound good on some female vocals like mezzo-sopranos to sopranos seems to have a sweet and pleasant voice quality but on coloratura and lyric type of sopranos, they lack of intensity and energy to execute a florid passage to project their vocal flexibility. On male vocals, baritones and tenors along with some female vocals like contraltos sounds a bit milder and lighter on their usual timbre which should have a lush, rich and deeper tone. Strings like guitars have rather balanced to "buttery" sounding as they sound less crisper and bright while violins have a rather lustrous and soft sounding. Some percussives and brass instruments somehow sound pretty balanced and on the natural side of tonality.

Since the namesake of this model is dedicated to Poland's greatest virtuoso pianist and composer during the Romantic period, Fryderyk Chopin, and to see if this set plays well on pianos. It appears that this set harmoniously sounds very even and well-balanced to give a clear and pleasant tone on some piano tracks that I've tested on this one

Tracks Tested:

● Nocturne Op.09 No.2
● Fantasie Improptu Op.66
● Mazurkas Op.68 No.4

HIGHS/TREBLE:

Treble response in this one has a smooth and balanced sound, that it is less susceptible to sibilance and harshness and while it has a sufficient sparkle but I also noticed that its treble air is rather modest in my opinion. It has soughing and undulating with less sizzle on its cymbals as my ideal cymbals timbre should sound at least shimmering and bright with a good amount of sizzle.


OVERALL TECHNICAL PERFORMANCE:

In terms of technical performance, it has an above average sound/speaker stage as it has well-proportioned sound field dimensions on both lateral and perpendicular axes. Imaging projection is more of a concave-like presentation with good separation and layering capabilities. Cohesion of its hybrid drivers is commendable as its cermet dynamic driver was able to deliver a fast transient speed while its BAs are able to deliver a good clarity without any unwarranted resonance and sounds less metallic. Resolution capability on this one is rather decent as it has good macro-dynamics and is capable enough to retrieve some details and nuances on its given note texture.


PEER COMPARISONS:

TANGZU FU DU VERSE 1

● Like The Chopin, this set is also of hybrid driver configuration and its shell chassis are also made of resin moulded via 3D-printing technology and metal alloy faceplate. The difference between them is that The FU DU has a better stock ear tips along with a premium Divinus Velvet Ear tips and better quality stock cable while The Chopin has more durable IEM container case and has a unique form factor of its shell chassis.

● On tonal quality, FU DU has a U-shaped, "balanced-warmish" sound profile that gives it more of an analogue-type of sound. It has a more punchy and authoritative bass response to point it's has borderline boomy response, a tad warmer but a tad recessed on its midrange but at least the majority of male vocals and some female vocals like the contralto have a more natural and more correct timbre but mezzo-sopranos and sopranos vocals, The Chopin will sound more better. As for treble quality, as both have pleasantly smooth and balanced responses but the FU DU is a bit darker compared to The Chopin as the latter have more shimmer and clarity.

● When it comes to technical performance, FU DU has a narrower sound/speaker stage, a two-dimensional stereo imaging and rather average layering as it struggles a bit on multi-instrumental test tracks that I usually listen to for sound checking. But at least, it has a more solid macro-dynamics.


CVJ MEI

● Another set that is also comparable to The Chopin as it also has a hybrid driver configuration. But the MEI has an all metal build construction, a Knowles BA driver and tuning switches that makes it more versatile and will offer more sound profile options. As for product packaging and quality of accessories, The Mei is way more inferior in this one compared to The Chopin.

● As for its tonality, due to the tuning switches, MEI offers 4 types of sound profiles, and all of them are aligned with V-shaped to U-shaped sound signatures. But I will do a comparison mostly in 1 DD + 1 Knowles BA setting as it is my preferred sound profile in which I consider as a mature tuning. Both have similar bass response as the MEI has a punchy and quite rumbly on sub-bass. The on the midrange, the MEI will fare better in all types of male vocals and female vocals like contraltos and mezzo-sopranos as they sound more organic with a right amount of texture but on sopranos, most percussives and woodwind instruments, The Chopin will win on this one as they have a tad more sparkle, crisper and proper energy to project those females vocals in a very natural and more open-sounding compare to the MEI.

● As for technical capabilities, it appears the MEI is quite competent in this regard as it has an average to above average of projecting its stereo imaging along with its perceived dimensions of its sound field, good cohesive performance of its drivers and fairly proficient on projecting resolution capabilities. But The Chopin was able to outclass it with better spatial imaging, more spacious sound/speaker size and better separation and layering capabilities.



To summarise my review on this set. The Binary Acoustics' first creation with collaboration appears to deliver a product that possesses a well-balanced sound with good technical capabilities that an audio enthusiast should be aware of its entry to the even more competitive portable audio market. I have some optimism about this set that it will be the most appealing and competitive one if the price is right.


BINARY ACOUSTICS CHOPIN is exclusively available at HIFIGO, If you are interested in purchasing this set, you can check out the unaffiliated link later down below.


★★BINARY ACOUSTIC CHOPIN - HIFIGO★★

★★BINARY ACOUSTIC CHOPIN - ALIEXPRESS★★

★★BINARY ACOUSTIC CHOPIN - AMAZON★★

★★BINARY ACOUSTIC CHOPIN - AMAZON.JP★★

SPECIFICATION:

MODEL: BINARY AUDIO CHOPIN
IMPEDANCE: 12Ω
SENSITIVITY: 122dB
FREQUENCY RESPONSE: 5Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 4.4mm Balanced
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (3) BALANCED ARMATURE DRIVER(S)


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 BINARY ACOUSTICS nor receive any monetary incentives and financial gains from them 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 LVY YAN of HIFIGO TEAM for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers. 

"Without music, Life would be a mistake"

~~Friedrich Nietzsche, German philosopher, composer and a cultural critic.


This is AFUL Performer 8, this is a follow-up model and an improvement of the highly popular, AFUL Performer 5. I did a review of the AFUL Performer 5 before and to be honest, I find it not that impressive given its popularity among audio enthusiasts out there.



Like its predecessor model, AFUL Performer 8 is a hybrid driver IEM but the difference was the improvement of some of its patented technologies like High Dampening Air Pressure Balance System (HDAPBS) and RCL Network Frequency Division Correction Technology. The HDAPBS was supposedly lessen the air pressure build-up in the ear canal and improves a bit on bass tone, depth and texture while RCL Network Frequency Division will enhance the seamless transmission of sonic frequencies to even out some peaks due to some resonance effect and at the same time, it will deliver a smoother treble response.



As aforementioned regarding being an IEM earphone with a hybrid driver configuration, AFUL Performer 8 has an 8mm dynamic driver with bio-cellulose diaphragm which is also known as paper-cone diaphragm which gives a deeper, more responsive and tighter bass quality. The supporting drivers which consist of 7 balanced armature drivers will handle the rest of the frequencies, from mid-bass to ultra highs in which gives a textured yet detailed midrange presentation and then, a smooth and airy treble response.



The drivers were encased along with its patented technologies in 3D moulded resin shells in a UIEM-style shape, even its internal acoustic tubes which are also moulded. Its shell chassis underwent some processes like chemical treatment to ensure stability and durability of its structural integrity. The drivers were organised and connected into a 4-way acoustic tube layout with each specific diameter size for each frequency to lessen some potential resonance peaks. The design of its faceplate appears to take inspiration from an orange-red coloured semi precious stone with some glittery surface to give that premium feel. Like its predecessor, Performer 8 utilises a 2-pin connector as its interlocking mechanism which is a standard and a better choice for ease of cable replacement and stability.



AFUL Performer 8 IEM comes along a premium cable, a 4-core high purity single crystal multi-wired silver-plated copper. The cable is quite malleable and supple to hold with enough thickness to have a balanced weight. It has a standard 3.5mm single ended as its termination plug and it was gold plated for better conductivity.



Regarding its wearability, like the AFUL Performer 5, Performer 8 has an excellent fitting due to its UIEM-style shell which is quite ergonomic as it rests well into my lugholes without discomfort or ear fatigue. It has remarkable isolation as it was able to block some external noises from the outside surroundings.



As for product packaging, the product presentation of AFUL Performer 8 is quite similar to the almost midrange sets that I have encountered so far. It has a medium-size rectangular box with a product illustration at the front and some basic specification and contact information at the back.



Here are the following contents inside of its box:

■ Pair of AFUL Performer 8 IEM

■ Stock cable

■ PU-leather round IEM storage case

■ 5 pairs of black-coloured balanced bore ear tips in different standard sizes.

■ 2 pairs of opaque wide bore ear tips in different standard sizes. (M & L only)

■ 4 pairs of black-coloured narrow bore ear tips in different standard sizes.

■ Paperwork like Q.C stub and instruction manual.



With a resistance rating of 30 ohms and high sensitivity mark of 115dB, AFUL Performer 8 is quite efficient on power amplification that a typical source with normal gain output is enough to be able to drive properly. With just a medium setting of its amplitude level, this set will already sound very complete, well-dynamic and in full range scale.



To determine its tonality, Performer 8 is more of a mild U-shaped sound profile but I also consider this set as a balanced-neutral sounding in my new classification on tonal profiles as there are mild U-shaped sounds which have different variances of texture and volume.


(The graph was provided by @koyawmohabal , credits to him)


LOWS/BASS:

The bass quality of this set is quite evened on how it presents both of its sub bass and mid-bass frequency. It has an incisive, precise and clean bass response as it is quite well-separated from other frequency parts, so assuredly, bass bleeding is nigh on impossible.

Sub bass are clearly perceived as definitely hear some rumbling and reverberation coming from sub-bass focus instruments like octabasses, low tone bass guitars, synthesisers and drum machines. Mid-bass has a rather balanced texture as it has neither lean nor thick note weight as it gives an ample volume on instruments and vocals. Bass guitars have a sombre and resonant sound as I was able to hear clearly from the plucking of their strings either fretless or slapping. Bass kick drums have those rumbling and resonant sound on every stroke that fast double bass kicks from metal and rock tracks will be effortless to be played clearly. Bass-baritones are able to have an enough dense but I also noticed that it rather less dark tone and depth to give a more gravelly sound from them.

Tracks Tested:

Sub-bass

● New Order - Blue Monday
● The Camouflage - The Great Commandment
● Oktoplut - Le delta de l'Okavango

Mid-bass

● [Patricia Morrison - Bass guitar] Sister of Mercy - Lucretia My Reflection.
● [John Bonham - Bass kick drum] Led Zeppelin - When The Levee Breaks
● [Peter Steele - Bass-Baritone] Type O Negative - I Don't Wanna Be Me


MIDRANGE:

This is one of the highlights of this set or probably its major factor. It has good texture, forward in presentation, vivid and detail which will give a substantial body on most vocal types and instruments. It also sounds clean, transparent and well-extensive that female vocals and instruments types like strings and woodwinds will fare even better.

Male vocals have a rather decent texture, depth and volume while female vocals seems to have more emphasis as it has more energy, detail and range as it is able to project the highest register that a female singer could reach although there are some minor caveats in this one on which I expound it later. On male vocals, standard baritones have a velvety and smoothness on their voice quality but I also noticed that both verdi and kavalier baritones seems to have less fuller, less darker tone and too smooth that their distinctive characteristics lose those vivid, darker and metallic timbre. Tenors and countertenors sound better on this one as they sound more organic and able to gauge a better vocal dexterity on this set. Tenors have brassy and clear vocals with sufficient richness and strength as I was able to hear different vocal ranges of this particular voice type, from Heldentenor to the rarer Legerro tenor. Countertenors seem to have a similar tone, pitch and timbre with mezzo-sopranos in which I will explain later on the female vocal part. Contraltos appears to have rich and smokey albeit it has a less depth and a tad lighter tone in contrast that it should have a heavy one (kindly check out both Toni Braxton and Tracy Chapman's vocals). Mezzo-sopranos sound very euphonic and captivating as I was able to enjoy the tenderness, coppery and glowing vocal qualities while sopranos projects the best possible vocal quality on this set. Dramatic sopranos have rich and expressive sound from their vocals, spinto and lyric sopranos have creamy and mild sound quality, Soubrette sopranos has sweet and silky vocal timbre and coloratura sopranos have that vocal velocity that able to execute a shimmering and able to sustain upper register range but there are some snag that I should raise, it might be a tad shrilly and tinny sound to some listeners might be sensitive on this particular frequency.

On instruments, I'll start with strings and woodwind instruments as Performer 8 will give a better edge on them. Strings like guitars and violins, the former have a crisp and lingering tone as I really enjoy guitar lines in a track whether it is an acoustic or electric ones and the latter ones in which I'm always enjoying to listen on classical, orchestra or symphonic metal have a vibrant, full and lively sound on every bowing movements on its strings. On woodwinds, concert flutes have rich and ethereal sound while piccolos have bright and intense sound and then on clarinets and saxophones, they have a penetrating, brilliant and reedy sound from them. As for brasses like trumpets, horns and trombones, a metallic, brilliant and penetrating sound on trumpets, a resounding and brilliant sound on horns, and then, a penetrating and tense sound on trombones. On percussives, a dry and sharp sound from every stroke on snare drums, a resonant and dry sound on both tom toms and field drum while there's an added rumbling sound on kettledrums. Pianos have a balanced to sufficiently bright tone from them while harpsichords have a soft yet resonant sound characteristic as I listen to Baroque period pieces particularly the works of Handel.

Tracks Tested:

Vocals

● [Kavalier baritone] Dmitri Hvorostovsky/Handel - Ombra Mai Fu
● [Baritone] Eddie Vedder/Pearl Jam - Daughter
● [Spinto Tenor] Luciano Pavarotti - Nessun Dorma
● [Tenor] Robert Plant/Led Zeppelin - The Rover
● [Countertenor] Andreas Scholl/Handel - Ombra Mai Fu
● [Countertenor] King Diamond/Mercyful Fate - The Dangerous Meeting
● [Contralto] Toni Braxton - Un-Break My Heart
● [Contralto] Tracy Chapman - Fast Cars
● [Mezzo-Soprano] Nadja Michael/Bizet - Carmen
● [Mezzo-Soprano] Sharon Den Adel/Within Temptation - The Cross
● [Coloratura soprano] Diana Damrau/Mozart - Die Zauberflöte: Der Hölle Rache
● [Dramatic soprano] Tarja Turunen/Nightwish - Sleeping Sun


Instruments

● [Guitars] Eagles - Hotel California
● [Violin] Felix Ayo/Vivaldi - Summer III. Presto: Tempo impetuoso d'Estate
● [Flute] Men At Work - Down Under
● [Trumpets] Berlin Philharmonic Orchestra/Wagner - Der Walküre
● [Trombone] Bad Manners - Just A Feeling
● [Drums] Hellhammer/Mayhem - Buried By Time And Dust
● [Piano] Yiruma - River Flows In You
● [Harpsichord] Barry Lyndon/Handel - Sarabande


HIGHS/TREBLE:

The treble response of AFUL Performer 8 is actually quite well-balanced as I noticed and observed the evenness on upper midrange to presence part where there is a fairly enough shimmer and crisp due to a slight elevation on the upper-mids just to give a well-articulated and good attack on instruments and a more coherent vocal projection. There's a hint of tad sibilance especially when I tested some of my test tracks which are known to be sibilant-laden but I consider it as well-controlled as it doesn't occur in most cases and good thing that I don't hear any strident sound on this one.

The cymbals have a good shimmer and glistening sound while hi-hats sound quite detailed on this one with their shortened buzzing sound. Celestas have a bright and glistening sound while glockenspiels have brilliant and penetrating sound. On the brilliance treble, it has a good amount of harmonics as it was able to give more sparkle and substantially moderate air.

Tracks Tested:

Instruments

● [Cymbals] Bobby Jarzombek/Riot - Fight Or Fall
● [Cymbals + Hi-hats] - Chad Smith/ Red Hot Chili Peppers - The Getaway
● [Glockenspiel] - Orchestre philharmonique de Radio France/Saint-Saëns - Danse Macabre, Op. 40
● [Celesta] - Cologne New Philharmonic Orchestra/Tchaikovsky - Dance Of The Sugar Plum


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

As I'm quite critical on how the PERFORMER 5 sounds so intimate and congested within my head room in my previous review, AFUL PERFORMER 8 was able to fix some of its issues from sound field imaging up to the timbral incoherences. As it still doesn't have the widest sound/speaker stage set in the midrange category, but at least it has an above-average width span and good height ceiling and good depth as it gives me a moderately-sized head stage.

As for stereo imaging presentation, it projects a 3D-like spatiality as I was able to panned out certain placements of instrument and vocal with good spacing and gaps on each part of a well-organised tonal and frequency layers in a pitch black sonic canvas. Even the most complex tracks such as Jazz ensemble, Philharmonic orchestra and musical movie scores will be an easy-peasy for AFUL PERFORMER 8.

On its multi-drivers performance, it is noteworthy that all of its drivers able to deliver a very cohesive sound with a such a coherency of its dynamic driver to have faster transients response and a well-done gradual decay while the balanced armature drivers able to have a smooth and uninterrupted sonic performance.

AFUL Performer 8 has an excellent resolution capability in both macro-dynamics and micro-dynamics. As it has a rigid texture on its note weight while it also a sharp transient response as it is quite capable of extracting a substantial amount of nuances and details from an audio track.


PEER COMPARISONS:

AFUL Performer 5

● This is Performer 8's entry-level predecessor, it also has a hybrid driver configuration and it has resin shell chassis. The only difference between them physically was a shell chassis in which the Performer 5 has a tad smaller form factor and less number of balanced armature drivers that were implemented on.

● As for tuning, Performer 5 is more of a U-shaped sound profile. It has more focus on sub bass but its midbass is somewhat hollow and soft impact with recessed midrange midrange presentation in which it gives me some odd vocal and instruments timbre. Treble response of this one is quite strange as it has a noticeable peaks on its upper mids and presence treble to give that dissonant and jarring sound on brasses and sopranos and then a sudden slope down on presence to brilliance part of the treble region with a moderate amount of air and sparkle.

● On technical performance, Performer 5 is quite inferior in some aspect like sound/speaker stage size, less cohesive performance of its drivers and that tinny and metallic sound coming from its BA is very noticeable that I speculate that it might uses a cheap, run-of-the-mill balanced armature or improper implementation of dampeners.


YANYIN CANON II

● Performer 8's one of the major rivals in this price range. Like the Performer 8, it is also a hybrid driver and also has resin shell chassis though the Canon II's was a quite a tad more solid and it also has a larger size due to tuning switches. Both sets have similar asking prices.

● Due to its tuning switches, it gives a Canon II an edge over Performer 8 due to its 3-4 variants of U-shaped tuning. Overall, Even in all tuning variants that Canon II has, it is more warmer and a tad more coloured rounding. It has more dominant and tactual bass response, a warmer midrange to give more body on male vocals and brass instruments and a more smoother, less sheen on its treble response.

● Both sets have almost similar technical performance but Canon II has a bit more spacious sound/speaker stage and even more solid macro-dynamics. Although Performer 8 has a sharper definition on extracting micro-details.


THIEAUDIO HYPE 2

● Another new rival of Performer 8 and like the aforementioned set, it is also of a hybrid driver configuration and made of high quality resin shell as well. The difference was the number of drivers and implementation as HYPE 2 has dual dynamic drivers in a isobaric set-up and just two balanced armature drivers which are more premium as they are made by Sonion.

● Tonality-wise, HYPE 2 is somehow similar with the Performer 8 as they are both of a mild U-shaped sound signatures but the difference was that the HYPE 2 has more emphasis low frequencies which can be classified as a " bass boost neutral" or simply an L-shaped sound profile. It has more tactile and punchy bass response, a more linear, a tad warmer and less energetic midrange, and then, a more smoother and less shimmering treble response.

● When it comes to technical capabilities, HYPE 2 has an edge a bit over Performer 8 as it has a larger sound/speaker stage particularly in height and lateral sound field dimensions which makes it more roomy. Although the micro-detail definition of the Performer 8 is still sharper compared to HYPE 2. And the rest of their technical capabilities are quite similar on a case to case basis.


In summary, AFUL Performer 8 is a follow-up model of the previous model, The Performer 5 and there are some drastic changes between them. AFUL did some serious work and further improvement on the Performer 8 from shortcomings of the previous model like congested soundstage, inconsistencies of its tonal colour, less cohesion of its drivers and a noticeable tinny sound from their BA drivers. And finally, AFUL did an excellent job on this one and it shows that they are up for continuous refining and well-polished on their products.

As I end my assessment on AFUL Performer 8, this is another moment that first impressions last is quite irrelevant to the current state of our enthusiasm on portable audio. AFUL Performer 8 will be an excellent choice on a midrange segment if you are looking for a well-tuned, balanced sounding and impressive resolution capability that makes it more appealing towards audio enthusiasts. There are still some deficiencies on set but for its asking price, we can simply outweigh it with its more positive aspect on its tonal performance.



AFUL PERFORMER 8 is available exclusively on HIFIGO, You can check out the unaffiliated link down below.

★★AFUL PERFORMER 8 - HIFIGO★★

SPECIFICATION:

MODEL: AFUL PERFORMER 8
IMPEDANCE: 30Ω
SENSITIVITY: 115dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (7) BALANCED ARMATURE DRIVER(S)



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 AFUL ACOUSTIC 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 LVY YAN of HIFIGO TEAM for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Hype is now used nowadays for advertising and marketing tactics. It is a form of excessive and unrestrained promotion or publicity of a certain product or an idea to the point that leads to an exaggeration of its usual function or capabilities.

But we have a different HYPE here as I will explain it properly, the term "HYPE" was actually formed as it was taken from the first two letters of two words, "Hybrid" and "Performance". This is actually my first product review from THIEAUDIO but I've tested their older entry-level product, The LEGACY 3, so I'm quite excited about this one to share my assessment here.



THIEAUDIO like some audio companies on how it was established,It started from the initiative of a few DIYers who wanted to make a product that has a well-thought-out tuning with superb technical performance and more affordable and reasonable price that can be reached by budget-conscious audio enthusiasts. With a full support from LINSOUL Audio with some provided resources for the development and became a base of creative platforms for audio enthusiasts and audio professionals alike. As they journeyed across the portable audio realm, their products like the Voyager, Legacy series, Divinity V16, Oracle and Monarch series 1 and 2 somehow change the landscape of midrange up to the TOTL segment as these products will truly rival and can stand toe to toe with other more established audio brands in the market.



What I have here is a THIEAUDIO HYPE 2, it is in a class that was situated between entry-level to midrange segment that some people will like to classify it as "flagship killers'' in which I'm quite uneasy and rather avoid to use that term. THIEAUDIO HYPE 2 is a hybrid driver IEM like its elder sisters, the Monarchs, Oracle and Excalibur but the Electret/"EST" drivers were omitted on this one to make it more affordable and budget-friendly. Before I explain more comprehensive its driver configuration, THIEAUDIO implemented their proprietary "IMPACT SQUARED" technology; this technology will give a deeper, more rumble and texture on its bass response due to an isobaric set-up of two dynamic drivers with composite diaphragms. Isobaric configuration is usually found on loud speakers so this one is quite interesting. As I mentioned its dual dynamic drivers inside, it was supported by two Sonion balanced armature drivers which are the latest generation, the P2356HF/4 and E25ST001/D, the first one was implemented to handle the midrange to treble region to have a crisper, better resolution and clarity on this one with some tweaks of its output compared to previous generation of Sonion 23 series while the E25ST001/D is for an added harmonics on its brilliance treble for more sparkling tone.



These drivers were encapsulated in a medical-grade imported resin shell chassis in a regular size UIEM-style form factor. It has irregular swirl patterns of colour combinations consisting of blue, grey and rose gold colour in a black faceplate panel to give that premium look on its aesthetics similar to some TOTL ones. There's a vent hole at the bottom part of its cavity base to release some excess air pressure produced by its dual dynamic driver to alleviate listening fatigue that might be detrimental to our hearing conditions. THIEAUDIO did implement a 2-pin connector on this set as its detachable mechanism for ease of cable replacement.




THIEAUDIO HYPE 2 is paired with a high quality stock cable. The said stock cable is a substantially textured 4-core 5N Silver-plated Litz copper wiring that was twisted and it has a gold plated 3.5mm SE termination plug. The cable is quite supple and has a resistance of entanglement.



The fitting and comfort of HYPE 2 is quite impressive on how it rests well into my lugholes. This is probably one of the best fitting IEMs out there and it has good passive isolation as it's able to block some outside noises from surroundings that we are situated at.



As for product packing, the packaging box of HYPE 2 is rather huge but the contents inside is rather spartan but at least it got some basics.



Here are the following inclusions inside of THIEAUDIO HYPE 2.

■ Pair of THIEAUDIO HYPE 2 IEMs
■ Stock Cable
■ A large zippered IEM case
■ Three (3) pairs of white-coloured balanced ear tips in different standard sizes
■ Three (3) pairs of black-coloured memory foam ear tips in different standard sizes
■ Cleaning cloth



On amplification rating, with 25 ohms of resistance rating and a sensitivity mark of 108dB, HYPE 2 is absolutely power efficient and easy to drive. With just a sufficient amount of volume level in a medium amplitude scale around 60% in a usual low gain mode, it already sounds very dynamic and it encompasses a full-range frequency spectrum.



The tonality of HYPE 2 falls into a mild-U shaped sound signature that is quite balanced across its frequency range. It has prominent low frequency, a linear midrange and a tad elevation on the upper mids and presence part of its high frequency. In other interpretations of its tonal aspect, some might perceive it as a bass-boost neutral sound profile.



(The graph was provided by @baskingshark , credits to him)

LOWS/BASS:

My initial impression of THIEAUDIO HYPE 2 that it has a well-balanced bass response. It has a tactual, punchy and deep, fairly dark tone. And this type of bass response certainly will not win over the ears of staunchly uber bass-heads as they might find it less authoritative and boomy but rather it will be more pleasing on a majority of midcentrics and neutral heads alike (I'm placing myself in this type of listeners category).

It has a haptic sub-bass presence as I discernibly felt those reverberations and rumble from the lowest pitch of certain instruments like synthesisers, low tone bass guitars and drum machines from the usual test tracks that I listened to like synth-pop and electronic rock genres. The mid-bass is somehow sufficiently textured as it gives an ample note weight on some bass-focus instruments and male vocals. Bass kick drums seem to have a sustaining and a thudding sound as it was able to cope with fast double bass kicks from extreme metal. Bass guitars have rasping and resonant sound from every strum on its strings either it is tapping, fretless or slapping. Bass-baritone vocals have a fairly texture and volume to have that guttural, woolly and sufficiently dark timbre.

Tracks Tested:

Sub-bass

● The Prodigy - Breathe
● New Order - True Faith
● Kraftwerk - Das Model

Mid-bass

● John Bonham/Led Zeppelin - When The Levee Breaks (Bass kick drum)
● Fredrik Widigs/Marduk - The Blond Beast (Bass kick drum)
● Patricia Morrison/Sisters of Mercy - Lucretia My Reflection (Bass guitar)
● John Deacon/Queen - Another One Bites The Dust
● Peter Steele/Type O Negative - Black No.1
● Andrew Eldritch/Sisters of Mercy - Lucretia My Reflection


MIDRANGE

The midrange response of THIEAUDIO HYPE 2 quite commendable as it was presented in a neutral, adequately textured with enough warmth and somehow an immaculate sound to give a delineated and spacious sense particularly on some female vocals, percussions and woodwinds though not that energetic as I will explain it later.

On male vocals, due to adequate warmth and volume, it gives decent texture on baritones, tenors and countertenors. In general, Baritones have a usual smooth and velvety sound on this set, operatic type baritones such as Kavalier and Verdi have a steely and authority on their respective tessituras. Tenors fare well on this one as these new improved Sonion BAs were able to sustain a degree of versatility and dexterity of this type of vocal to have a brassy, dazzling and ringing sound with power and heft on it. Meanwhile, countertenors have a smooth, agile and tender sound which in my opinion shares similar characteristics with mezzo-sopranos vocals. When it comes to female vocals, contraltos have that smokey and rich sound from them as it gives me that feeling of serenity of their vocal qualities. As I mentioned a while ago that mezzo-sopranos have similar characteristics with countertenors, they also have these velvety and coppery characteristics from them. Soprano vocals sound balanced with good texture on it as they sound have the silky and silvery which gives more realistic timbre on dramatic, soubrette and spinto soprano. Some lyric and coloratura types of soprano might be a tad inadequate in projecting energetic and bright tone from their vocals but nonetheless, I still give an excellent mark on the vocal capabilities of this set.

In all the instruments' sound quality, THIEAUDIO HYPE 2 depicts them in an organic and almost tonally accurate register, range and timbre which have a remarkable tonal balance and nearly life-like. On strings, guitars, either acoustic and electric ones have a balance sound from them but there are some instances that they sound a bit dry a due to more focus on fundamentals rather overtones which have a subtle peaks which I also noticed on all string ensemble of a Spanish-type Rondalla (Mexican and Filipino variants were included) like from octavinas, lauds and bandurrias. Violins have a full, calm and lustrous sound rather than a more vibrant and lively sound that I really want. Woodwinds like concert flutes, piccolos, clarinets and saxophones, I hear a poetic and rich sound on flutes, a more graceful yet clear sound of piccolos, a velvety and sonorous sounds of clarinets and sufficiently mild and warm sound of saxophones. On brasses, trumpets have substantial, round and mild vividness sound from them, trombones have solid and full sound and horns warm and full sound particularly on middle register. On percussive, snares have sharp and precise sound, Both tom and field drums have a warm, sustaining and resonant sound from them, kettle drums also have a resonant sound but it has a deeper tone. Pianos seem to have a balanced tone on how it sounded in all registers.

Tracks Tested:

Baritones

● Dmitri Hvorostovsky (Kavalier baritone) - Ombra Mai Fu
● Robert Merrill (Verdi) - Largo al factotum
● Billy Idol - Eyes Without A Face

Tenors

● Luciano Pavarotti (Lyric-Spinto) - La Donna E Mobile
● Placido Domingo (Lyric) - Nessun dorma
● Freddie Mercury/Queen - Killer Queen

Countertenors

● Andreas Scholl/Handel - Ombra Mai Fu
● Philippe Jaroussky/Vivaldi - Tecum Principium
● King Diamond/Mercyful Fate - A Dangerous Meeting

Contraltos

● Kathleen Ferrier/Bach - Angus Dei
● Tracy Chapman - Fast Cars
● Annie Lennox - No More I Love Yous

Mezzo-sopranos

●Cecilia Bartoli/Handel - Ombra Mai Fu
●Sharon Den Adel/Within Temptation - The Cross
● Dolores O'Riordan/The Cranberries - You and Me

Sopranos

● Diana Damrau/Mozart (Coloratura) - Der Zauberflöte: Der Hölle Rache
● Tarja Turunen/Nightwish (Dramatic) - Sleeping Sun
● Allison Krauss - A Living Prayer

Instruments

● Eagles (Live, Hell Freezes Over) - Hotel California (Guitars)
● Felix Ayo/Vivaldi - Summer III. Presto: Tempo impetuoso d'Estate (Violins)
● Jethro Tull - Living In The Past (Flute)
● George Michael - Careless Whisper (Saxophone)
● Berlin Philharmonic Orchestra/Wagner - Die Walküre (Trumpets)
● The Specials - A Message To You Rudy (Trombone)
● The Ventures - Hawaii Five O (Drums)
● Yiruma - River Flows In You (Piano)


HIGHS/TREBLE:

This is what makes the treble quality of THIEAUDIO HYPE 2 sound more balanced, smooth and neutral. There is a mild accentuated bump on the upper mids and presence part just to give a more definition on both rhythmic and percussive attacks and yet retains a more balanced vocal quality. It also has a good crisp, clarity and adequately detailed sound without compromises, so harshness and sibilants are practically non-existent on this one.

Cymbals sound lustrous and full while hi-hats have that shortened buzzing sound. Glockenspiels have a lustrous and bell-like sound as it has a quite consistent timbre across its range. Celestas have a velvety, sweet and mellow sound in which my ideal timbre of this particular type of instrument should sound at least silvery or brimming with glistening sound.

On the brilliance part, I always anticipated that a smooth and balanced tuned treble usually has some trade-off on quantity of harmonics but not in this case as it has a sufficient sparkle and a fairly moderately treble air extension.

Tracks Tested:

● Celtic Frost - Visual Aggression (Cymbals)
● Ottoman Mehter - Ceddin Deden (Cymbals)
● Cologne New Philharmonic Orchestra/Tchaikovsky - Dance Of The Sugar Plum (Celesta)
● Orchestre philharmonique de Radio France/Saint-Saëns - Danse Macabre, Op. 40 (Glockenspiel)


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

To think that technical capabilities are one of THIEAUDIO HYPE 2's strongest aspects and here are the following grounds.

It has a wide and tall proportion of its sound field as it gives me a roomy head stage with my aural sphere. It has a quite wide lateral span, a pretty tall on its height and a good and immersive depth on both front and back.

It has a holographic spatial stereo imaging where I can able to locate the exact location of instruments and singers, a clear and well-defined separation and a proper arrangement of tonal layers of instruments and vocals in a sonic canvas which is more conducive for multi-instrumental complex tracks.

The hybrid driver configuration of THIEAUDIO HYPE 2 has an fairly cohesive performance as each drivers able to deliver its specific functions but I notice that it's isobaric dual driver set-up doesn't have the fastest transient response that I've heard but at atleast it doesn't sound sluggish at all.

This set also has good resolution capabilities as it has solid and ample texture on its macro-dynamics as it has good notation attacks while it has a fairly sharp on its micro-detail definition as it was able to extract a good amount of details and nuances from an audio track.


PEER COMPARISONS:

YANYIN CANON II

● Like HYPE 2, CANON II is also a hybrid driver IEM and its shell chassis also made of high quality medical grade resin but the differences were it has a single 10mm paper-cone diaphragm and two more balanced armature drivers and also has tuning switches. And also, the resin shell chassis of this one is quite chunky and a tad larger compared to HYPE 2.

● Due to its tuning switches, CANON II offers three or four types of sound profiles depending on the settings but all of them leaning towards a u-shaped sound signature. Its tonality is between being a balanced-warmish to "warmish-neutral" sound. It has a more solid and punch bass response, a more recess yet textured midrange to have a more warmer tone on instruments and most of the vocal types especially male ones, and similar on treble response but it has a modest amount of air and sparkle.

●As for technicalities, they are quite similar with the exception that when it comes to sound/speaker stage size, CANON II's width span is just above average as it has a rather limited expanse unlike HYPE 2.

AFUL PERFORMER 8

● Both are quite similar as Performer 8 is also a hybrid driver configuration and has a resin shell chassis too, although Performer 8 has more balanced armature drivers and it has its proprietary patented technologies like "RCL Network Frequency Division Technology" in which AFUL claims that it will provide better separation and cleaner sound quality across its frequency range and dampening system for lesser ear fatigue. And Performer 8 has more choices of ear tips to choose from.

● As for its tonal aspect, Performer 8 has also a mild U-shaped sound signature but it is leaning towards a balanced-neutral tuning. It has a more balanced but less punchy and impacting bass response compared to HYPE 2 but it has crisper, detailed and energetic midrange which is makes its more better on female vocals and strings instruments thought some sopranos vocals might sound a tad shrilly, and it has tad brighter treble response compared to HYPE 2.

● On technical capabilities, they are almost almost similar but again, compared to HYPE 2, its sound/speaker stage is more on the intimate side which makes Performer 8 has a less roomy perception which makes it a bit average one in my opinion.


Here are the summaries about THIEAUDIO HYPE 2 and what makes it more special. First was its pricing which was situated between entry-level to midrange category in which Thieaudio seldomly ventured on this price range, second one was its dual dynamic driver in an isobaric set-up and last but not the least was the implementation of new generation of Sonion balanced armature drivers on it.

As I end my assessment on THIEAUDIO HYPE 2, this set will definitely deliver a kind of sound quality which is well-balanced and quite articulate sound with its pricing. And also it will be more versatile to all types of music genres and will give more a pleasant and enjoyable sound quality even to treble sensitives folk out there. But the big question was will this set become one of the reference standards in entry-level and even midrange level sets? For me, its plausible.



THIEAUDIO HYPE 2 is now available at LINSOUL, you check the unaffiliated link down below.

★★THIEAUDIO HYPE 2 - LINSOUL★★

SPECIFICATION:

MODEL: THIEAUDIO HYPE 2
IMPEDANCE: 25Ω
SENSITIVITY: 108dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (2) DYNAMIC DRIVER + (2) 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 *
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 THIEAUDIO 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 KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

In climatology definition, Wind is a natural phenomena where movement of air across the Earth's surface plays a significant factor in controlling and determining the weather and even climate in a certain region. The reason for the occurrences of different scale wind movement or atmospheric pressure are due to the variable thermal heat on both vertical (poles) and horizontal (equator) parts of earth's surface and also an inertial movement and rotation of earth also known as Coriolis effect. Gusts, squalls, breezes, storms, hurricanes, monsoons and typhoons are connected with the strength and speed of the wind.


After the end of BQEYZ's Season Series as we all know that this was the line-up section for their flagships, They decided to introduce their latest flagship line-up range, The Weather Series. This unit that I have here right now is the first model of its class, The BQEYZ WIND.



The BQEYZ WIND like most of its Season Series predecessors (with the exception of The Autumn) is also a hybrid driver set-up and we also know that BQEYZ are one of the few audio companies that striving to be innovative as possible with their R&D department constantly experimenting and improving some existing audio technology and a new generation of bone conduction driver was their technological achievement from their almost a year long effort on developing this one alone.



BQEYZ WIND has a hybrid driver configuration consisting of a newly-developed 10mm voice coil-type copper bone conduction driver and a dynamic driver of similar size with LCP (Liquid Crystal Polymer) composite diaphragm as its supporting driver to handle other parts of the frequency range. The voice coil-type copper bone conduction driver is quite different from the other bone conduction driver that was implemented on both Winter and Winter Ultra as the previous one is based on a piezoelectric mechanism that is almost similar with typical air conduction process which handles midrange to ultra high frequencies. On the other hand, the newly-developed copper bone conduction which has a vibrating reed made of steel and it was suspended in part of its cavity base shell that truly transmit a low and midrange frequency waves directly to the ear cartilage (yeah, cartilages are soft bone connective tissues after all) then transmit those vibration through the skull and somehow skin to give that immersive and ambient feel. So in principle, this type of bone conduction driver really works like a bone conduction system from other hearing aids with better transmission and material that really benefit the quality of its sound. The supporting LCP dynamic driver has a dense, quite responsive vibration for better clarity, detail retrieval and brighter treble that this driver solely handles some parts of midrange up to the ultra-high frequency.



The dual hybrid drivers were enclosed in a CNC-milled aluminium alloy shell chassis and then it underwent a sandblasting and anodising process to give an even texture and smooth surface. On its faceplate, there are some laser-cut hollow slits that remind me of a Chinese script (it means "Wind" according to BQEYZ's ad). The cavity base part area of the shell is where the bone conduction driver is situated to contact the anti-helix or concha part of our ear with vibrations and also there are vent holes for an outlet of excess air pressure generated from high performance drivers. BQEYZ offers two colour options to choose from, an ultramarine blue and silver grey. Overall, the shell design of the WIND is somewhat a semi-open back one, but surprisingly it has a good sound isolation for that particular type of shell design. Like all BQEYZ sets, it has a 0.78mm 2-pin connector as its interlocking mechanism which is known to be a more stable and proven detachable mechanism.



All BQEYZ flagships were known to have a high quality stock cable and BQEYZ WIND is no exception in that regard. The stock cable of this set is actually a new one as it has bi-colour combination of white and grey. It has 2-core, mono crystalline silver-plated copper wirings that were insulated with PVC coating. It has metal alloy on its termination plug and upon ordering this set, you can choose three types of plugs; 3.5mm SE, 2.5mm Balanced and 4.4mm Balanced. Altogether, the stock cable is soft, well-balanced on its texture and yet durable for long term usage.



Also, another cable from BQEYZ that I will insert here and it's a variant of their LIME/RIME cable. This RIME cable has 4-core strands of crystalline silver-plated copper filled with an insulation layer which makes it supple, more flexible and quite durable too. It also noted that the RIME cable is a modular one where you can interchange its termination plug based on the availability of the output jack(s) that your device has. There are three included termination plugs to choose from and they are gold-plated to ensure better conductivity, these are 3.5mm SE, 2.5mm balanced and 4.4mm balanced.



As for fitting and comfort, BQEYZ WIND shells appear to be lightweight for its all-metal alloy construction that I can wear it into my lugholes for a long listening session. Once again, I will mention regarding its semi-open back design, The WIND was able to block some external noises from the outside environs as I usually do some brisk walking daily.



For its product packaging; BQEYZ is one of the audio companies that present their product presentation in a very organised and appealing as it includes many accessories in particular to be utilised.



Here are the contents inside of BQEYZ WIND:

■ Pair of BQEYZ WIND IEMs.
■ Stock cable.
■ a zippered PU-leathered IEM case.
■ Three (3) pairs of vocal/reference ear tips in different standard sizes.
■ Three (3) pairs of balanced ear tips in different standard sizes.
■ Three (3) pairs of bass/atmospheric ear tips in different standard sizes.
■ Pair of memory foam eartips
■ Ear tips plate.
■ Cleaning tool.
■ Paperworks like instruction manual, Q.C. stub and warranty card.



On required power efficiency, BQEYZ WIND can be driven decently with sufficient power output from multimedia devices like smartphones, laptop and tablet. But should be noted that this set will definitely scale well on sources with medium and high gain mode output as it will truly show its full potential to have a full and vivid sound quality.



As for tonal profile, It is quite a norm that almost all BQEYZ flaghip models are known to have a balanced-neutral tuning on them but this time, they take another variety of a neutral sound. BQEYZ WIND has a warmish-neutral sound signature as it has more emphasis on both low and midrange frequencies with a tad boost on the upper midrange up to presence part and the rest are neutral and linear presentation on high frequencies. Some listeners might perceive the BQEYZ WIND as an L-shaped, bass boost neutral sound.




LOWS/BASS:

With the bone conduction that handles the low frequencies, it gives a different experience on listeners on how BC (Bone Conduction) bass would sound like. The bass response of The WIND is quite tactile, punchy with consistent rumble on its sub bass presence to give that ambience-like dynamic vibe within my aural sense that few sets with BC drivers able to deliver it. I'm quite familiar on this kind of experience as I was able to to test some TOTL sets with almost similar tech namely the "Kinetic Bass" of some Fir Audio sets, the Weapon X Bone Conduction technology of Empire Ears Legend Evo and the much vaunted bone conduction driver technology on some Unique Melody sets like from MEST II & III and Mason Fu Sang.

As I mentioned a while ago about the quality of its sub bass, it has a good depth and noticeable reverberations that I perceived it clearly from sub-bass focus tracks with low tone bass guitars, octabasses, synthesisers and drum machines. Meanwhile, on mid bass, it has a well-textured note weight to give a more body and darker tone on some bass instruments and male vocals. Let me describe some tonal characteristics of each instrument that I will mention here. Bass kick drums do have a full, resonant and thudding sound that is able to sync with double bass kicks from rock and metal tracks. Bass guitars have a rather broad and sombre sound and it should pay heed to its well-detailed string notation of bassist's plucking techniques, either its basic strumming, slapping or fretless. Bass-baritones vocals should sound thick, dusky and with a dark tone, and this set is able to deliver it in almost tonally precise manner as it has a good depth and guttural sound that these vocal types should have.

Tracks tested:

Sub-Bass

● Kraftwerk - Das Model
● The Prodigy - Breathe
● C.C.C.P. - American Soviets
● New Order - True Faith

Bass Kick Drums

● Led Zeppelin - When The Levee Breaks
● Marduk - The Blond Beast
● Fleshgod Apocalypse - The Betrayal
● The Romantics - Talking In Your Sleep
● Pizzacato Five - Sweet Soul Revue

Bass Guitars

● Primus - My Name Is Mud
● Queen - Another One Bites The Dust
● Metallica - Motorbreath
● Sister of Mercy - Lucretia My Reflection

Bass-Baritones

● Peter Steele/Type O Negative - Black No.1
● Andrew Eldritch/Sister of Mercy - Lucretia My Reflection
● Barry White - Never, Never Gonna Give Ya Up
● Bryn Terfel - Mussorgsky's Boris Gudanov Coronation


MIDRANGE:

This is BQEYZ WIND's strongest part and it was its midrange presentation. It has a forward presentation with well-textured, smooth, organic, properly balanced of its warmth and quite detailed sounding. This kind of tuning will be versatile and comprehensible to all types of vocals, either male or female and most instruments will sound very natural and engaging sounding.

On male vocals, it gives a good depth, volume and definition on baritones, tenors and countertenors to sound natural and tonally accurate. Baritones of all types will sound plush, velvety and rich. Tenors that have a distinguished full and energetic sound will have those brassy and dazzling characteristics that both leggero and lyric types will have their bright and flexible vocalisations on hitting their respective ranges. I really like how the countertenors sound on this set, they have smooth, tender and light falsetto voices yet with good vocal density. Female vocals are also quite remarkable here too as it has sufficient energy and brightness to project even with vocals with highest range and register. Contraltos sound excellent on this one as they have those lush, rich and strong vocals. And then, mezzo-sopranos seem to have musky, smooth and velvety sound characteristics that I really want as they sound very mesmerising and comforting to my ears. Soprano sounds quite bright and spacious as they have a good depth and sufficiently rich tone although there are some matters that we might want more energetic and vocal flexibility on some lyric and coloratura-types of sopranists in which BQEYZ WIND might be a little bit lacking but it able to deliver a natural and detail sound.

When it comes to instruments, they all quiet sound natural, evocative and faithful to its tonal colour. On string instruments, guitars have these overtones and balanced sound on every pluck and strumming in its string notations on which ideally they should sound crisp and bright in my opinion. Violins have vibrant, lustrous and full sound on their strings on every movement of their bow stroke. On brass instruments, trombones have a brassy and solid sound, while trumpets have that stately, full and vivid sound from them. Horns and tubas have these warm, full and ponderous characteristics as they have those deep resounding sounds. Woodwinds instruments like concert flutes, piccolos, clarinets and saxophones, it has mellow and rich sound or concert flutes, a graceful and clear of piccolos, a rich and warm sound of clarinets and although saxophones have similar sound characteristics with the clarinets but in some tracks they sounds more "dramatic" and sombre. And last but not the least, the percussive instruments, snare drums have hard and clear sound in every stroke, field drums have that venerable and hard sound. And then on kettledrums, they have a deep and resonant sound and while tom drums have similar timbre with it. The pianos sound very even and balanced here with enough warm and sufficient bright tone on it while harpsichord have soft, metallic and silvery sound from them.

Tracks tested on this category:

Male Vocals

● Dmitri Hvorostovsky (Kavalier Baritone) - Handel - Ombra Mai Fu
● Robert Merrill (Verdi Baritone) - Rossini - Largo al factotum
● Billy Idol (Baritone) - Eyes Without A Face
● Scott Weidland (Baritone) - Stone Temple Pilots - Still Remains
● Luciano Pavarotti (Spinto Tenor) - La Donna E Mobile
● Placido Domingo (Lyric Tenor) - Nessun Dorma
● Elton John (Tenor) - Candle In The Wind
● Freddie Mercury (Tenor) - Killer Queen
● Justin Timberlake (Tenor) - Cry Me A River
● King Diamond (Countertenor) - Mercyful Fate - A Dangerous Meeting
● Andreas Schol (Countertenor) - Ombra Mai Fu
● Robert Gift (Countertenor) - Fine Young Cannibals - She Drives Me Crazy

Female Vocals

● Nina Simone (Contralto) - Love Me or Leave Me
● Tracy Chapman (Contralto) - Fast Cars
● Annie Lennox (Contralto) - Why
● Sade (Contralto) - Smooth Operator
● Cecilia Bartoli (Mezzo-soprano) - Handel - Ombra Mai Fu
● Dolores O'Riordan (Mezzo-soprano) - The Cranberries - You and Me
● Sharon Den Adel (Mezzo-soprano) - Within Temptation - The Cross
● Nadja Michael (Mezzo-soprano) - Bizet - Carmen
● Allison Krauss (Lyric Soprano?) - A Living Prayer
● Tarja Turunen (Dramatic Soprano) - Nightwish - Sleeping Sun (first version)
● Olga Peretyatko (Coloratura Soprano) - Mozart - Or sai chi l'onore
● Diana Damrau (Coloratura Soprano) - Mozart - Die Zauberflöte: Der Hölle Rache

Instruments

● The Eagles (Strings/Guitars) - Hotel California
● Dire Straits (Strings/Guitars) - Sultan Of Swings
● Jimi Hendrix Experience (Strings/Guitars)- Voodoo Child
● Scorpions (Strings/Guitars) - When The Smoke Is Going Down
● Felix Ayo (Strings/Violin) - Vivaldi - Summer III. Presto: Tempo impetuoso d'Estate.
● Malice Mizer (Strings/Violin) - Au Revoir
● Jethro Tull (Woodwind/Flute) - Living In The Past
● Men At Work (Woodwind/Flute) - Down Under
● Bundeswehr Staff Band (Brasses) - Preußischer Präsentiermarsch
● Berlin Philharmonic Orchestra (Brass/Trumpets) - Wagner - Die Walküre
● The Specials (Brasses/Trumpet/Trombone) - A Message To You, Rudy
● Ottoman Mehter (Brasses) - Plevne Marsi
● Top Secret Drum Corps
● Rush (Percussive/Drum) - Tom Sawyer
● Riot (Percussive/Drum) - Warrior
● Yuja Wang (Piano) - Rachmaninoff: Prelude in G Minor, Op. 23, No.5
● Yiruma (Piano) - Rivers Flows In You
● Maksim Mrvica (Piano) - Flight of the Bumble Bee
● Barry Lyndon OST (Hapsichord) - Handel - Sarabande


HIGHS/TREBLE:

The treble quality of this set is relatively balanced as it has a sufficient shimmer and smoother response. I noticed that it has a mild boost on the upper mids to give a solid attack of instruments especially on percussions and even rhythmic ones and also, vocals are more expressive and well-articulated. In the presence part of its high frequency seems quite crisp, clear and detailed sound and I don't encounter any jarring, stridency and sibilance at all even on my preferred testing tracks which are known to be sibilant-laden.

As I observed, cymbals have a rather lustrous with ample shimmer and sizzle sound. The hi-hats have a shortened buzzing sound that this set is able to reproduce faithfully. Celestas have those "heavenly" tones as they sound so ethereal, bell-like and sweet to my ears and glockenspiels seem to have that brilliant and lustrous sound. The brilliance part of The Wind has a substantial amount of harmonics as it has a good sparkle with moderate treble air extension in which I wish for more quantity on this one.

Tracks tested in this category:

Instruments

● Celtic Frost (Cymbals) - Visual Aggression
● Riot (Cymbals) - Fight Or Fall
● Cologne New Philharmonic Orchestra (Celesta) - Tchaikovsky - Dance of the Sugar Plum
● James Levine (Celesta) - Bartok: Music for Strings, Percussion and Celesta - Sz. 106 -3. Adagio
● Zebrowski Music School Orchestra (Glockenspiel) - Saint-Saëns - Danse Macabre, Op. 40


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

As all BQEYZ sets that I've tested so far, they are all quite technically competent and this set is no different from its predecessors when it comes to technical performance. Sound/speaker stage of this one is quite roomy as I perceived the expanse of its sound width, a good height reach and immersive depth between front and rear. In general, it really gives my aural perception a spacious head room along with some quirks from its bone conduction driver.

On imaging presentation, BQEYZ WIND projects a three dimensional, atmospheric kind of spatiality where I can even accurately locate the positioning of instruments and vocals especially on a live band performance and full orchestra ensemble. It has an excellent separation and layering as I was able to perceive those spacing and gaps of sections of instruments and vocals with well-defined stacking of layers of each instrument and vocal tonal frequencies. With the added capabilities of a bone conduction driver, it gives that unique experience as it definitely gives that lingering, bloomy and resounding effect that envelopes within the ends of its sound field.

The implementation of two types of driver here in BQEYZ WIND is quite excellent as both drivers perform in a homogenous and cohesion manner with fast transient speed and in tandem with its bone conduction, it gives a resounding and even darker tonal pitch on some instruments.

BQEYZ WIND is also excellent on resolution capabilities especially for a set that doesn't have any BA (balanced armature) driver at all for more precise and better detail. It has remarkable macro-dynamics due to its textured note weight and well-precise musical notation attacks, then a balanced sharp detail definition as it extracts some nuances and detail infos from an audio track.


PEER COMPARISONS:

BQEYZ WINTER

● This is the WIND's predecessor model and also has a similar hybrid driver configuration but its functionality for handling specific frequency response is quite different. It has a larger dynamic driver for low frequencies and a piezoelectric based bone conduction driver for mids and high frequencies. Like its successor, WINTER's shell chassis is made of metal alloy.

● The WINTER's tuning is leaning towards being balanced-neutral sounding. It has a tighter bass response, more vivid and engaging midrange and a bit brighter treble with more air on it.

● Both have similar technical performance with the exception that WINTER has a tad sharper definition on its micro-dynamic resolution.


FIR AUDIO NEON 4 (DEMO)

● Like the WIND, NEON 4 has an all-metal build shell chassis and also a hybrid driver configuration. But the big difference between them were that NEON 4 is considered as a TOTL flagship IEM which cost over two grand (either in US dollar or in pound sterling), second one is that its shells are a bit heftier and more chunky with sapphire glass on its faceplate and the last one was that its multi-driver set-up were consists of a proprietary hybrid dynamic driver which also has a bone conduction capability and three custom balanced armatures drivers.

● As for its tonality, NEON 4 has a more mild U-shaped sound profile in my lugholes. It has more robust and haptic bass response and a similar texture on it midrange, while it has a natural tone and timbre on it, it's a tad colouration on it to make it more engaging, Treble response on this one is rather smooth, linear and only has a moderate treble air.

● On technical capabilities, NEON 4 has similar soundstage dimension with the WIND but its stereo imaging projects a more concave presentation and for a TOTL set, its separation and layering capabilities were rather average to above average given that I've tested a fairly substantial units of TOTL sets with better technical performance.


UNIQUE MELODY MEST III

● Another TOTL set with a bone conduction driver on its internals, MEST III has a more chunky shell chassis made of composite materials, majority of its materials particularly its base cavity is a solid carbon-fibre. With its large shell chassis, it has an array of four types of driver aside from its proprietary bone conduction technology, it has dynamic driver, four (4) balanced armature drivers and a quad Sonion Electret/"Electrostatic" drivers. It also has a more premium fibre-sheathed stock cable but unwieldy and less flexible compared to WIND's stock cable.

● When it comes to tonality, MEST III has a more balanced-neutral tuning that UM envisioned on its latest generation of their MEST series model. It has more balanced bass response but it has very clear sub bass rumble along with more ambient and reactive bone conduction to give that unique experience ( UM claims that its BC driver starting point response is at lower midrange area), a more transparent, detailed and a tad cleaner midrange and a tad brighter treble response with excellent sparkle and well-extended airy treble.

● On technical capabilities, MEST III easily outmatched the WIND in any category. From a cavernous sound/speaker stage proportion, superb separation and layering as it really dissects each instrument section and tonal and frequency layering and resolution capability. WIND technical performance is impressive in its price but MEST III is a different beast to deal with.


In summary of my assessment regarding this set, BQEYZ WIND is a hybrid set with a new generation of bone conduction technology that BQEYZ painstakingly developed for months. And with a different approach to its tuning and new sets of its inclusions. BQEYZ WIND tries to differentiate itself from its predecessor models.

As I end my review here, BQEYZ WIND is a testament of BQEYZ's persistent on its pursuing innovation and takes some time to be refined product and primed for portable audio market which became more competitive at constant rate. If you want a midrange performance for less, then BQEYZ WIND is definitely one of them and I will definitely recommend this one without a doubt.

BQEYZ WIND is now available at BQEYZ Official Store in ALIEXPRESS, you can check it out at the unaffiliated link down below.


★★BQEYZ WIND - ALIEXPRESS★★


Also check out my previous reviews on other BQEYZ products.

● BQEYZ KC2
● BQEYZ SPRING 2
● BQEYZ SUMMER
● BQEYZ AUTUMN
● BQEYZ TOPAZ
● BQEYZ WINTER




SPECIFICATION:

MODEL: BQEYZ WIND
IMPEDANCE: 38Ω
SENSITIVITY: 113dB
FREQUENCY RESPONSE: 5Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm, 4.4mm, 2.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (1) BONE CONDUCTION 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 BQEYZ 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 ELLE ZHOU of BQEYZ for providing this review unit as a loaner unit. I truly appreciate her generosity and trust towards me and other reviewers.

Quintet is a set of musicians consisting of five members in a musical group. The prime examples of famous quintet acts are the Jackson 5, The Temptations, Backstreet Boys and Spice Girls. Quintet is also a typical set-up for rock and metal bands like Anthrax, Scorpions, Avenged Sevenfold, Malice Mizer (a 90s to early 2000s band act from Japan) and Twisted Sister.


This is Kiwi Ears Quintet, a follow-up product from their previous model, The Quartet. Unlike the Quartet which has a usual hybrid driver set-up, the Quintet takes another level for a hybrid driver configuration as it added another two types of drivers, a piezoelectric driver and a "micro-planar" driver which makes it a "quad-brid" set.



The number of drivers that were implemented to the Quintet's transducers on each side consists of a single dynamic driver, two (2) balanced armature drivers, a MPT (micro planar transducer) driver and a single piezo-electric driver. The dynamic driver is a 10mm size with DLC (diamond-like carbon) diaphragm and it has good ductility properties to deliver speed, precision, slam and more responsiveness on the bass part. The two Knowles balanced armature drivers handles the midrange part to deliver a natural and better resolving on both vocals and instruments.The " 'MPT (micro planar transducer)' " or Flat Panel Driver which is more flexible to integrate with other drivers as it gives a better efficiency on extracting a full range frequency on the treble region, while the piezoelectric driver will added more air and stereo spatiality.




These drivers were encapsulated in the shells made of composite materials composed of aluminium alloy in a silver coating with matte-like finish and a black-coloured acrylic resin on its cavity base. The shell chassis of Quintet takes an archetypal UIEM (universal in-ear monitor) form factor for wearing versatility to all ear sizes. Like all Kiwi Ears products, Quintet has a 2-pin connector as its detachable mechanism for straightforward on doing cable replacement.



As for Quintet's fitting and comfort, With its pretty light shell chassis with smooth contours and a stabilising fin for better insertion, it rests well in my lugholes as I can wear it for long listening sessions. Passive noise isolation seems to be fine as it was able to block some noises for the outside.



Kiwi Ears included a stock cable for Quintet of decent quality. It has 4-core High-quality, Oxygen-free silver plated copper wiring with 3.5mm as its termination plug.



The product presentation of Kiwi Ears Quintet seems pretty simple but with its basic inclusions, it does fine for its usage.



Here are the following contents inside:

■ Pair of Kiwi Ears Quintet IEM.
■ A stock cable.
■ IEM storage case.
■ Six (6) pairs of black-coloured ear tips.
■ Instruction manual.



Regarding its amplification, Kiwi Ears Quintet is easy to drive as it only needs a sufficient power output from a multimedia source like smartphones, laptop and DAP. A decent power output will deliver an optimal performance on Quintet to have a full range sound.



The tonality of Kiwi Ears Quintet has a mild u-shaped sound signature which is quite balanced. It has an elevated low and high frequencies with a pretty linear and neutral midrange.


(This graph was provided by @koyawmohabal , credit to his effort on this one)


LOWS/BASS:

It seems that the bass quality and quantity of Quintet is fairly balanced as it has a good sub bass presence while a sufficiently textured mid bass. Therefore, it gives a cleaner, precise and incisive bass response that is quite well-separated from other frequencies.

Sub bass can be relatively felt in the sonic spectrum as I discerningly felt those reverberations and rumble from synthesisers, drum machines and low toned bass guitars. On mid bass, as I mentioned a while ago, it has sufficient texture but I also notice that it has a depth to a lesser degree and less darker pitch that would affect some tonal colours on some instruments and male vocals. Bass guitars have a rather sombre and resonant sound though there are some instances that it sounds a bit hollow. Bass kick drums have a thudding and eerily sound while bass trombones have a rounded and soft sound from them though it is quite lacking on fullness and darker tone. Bass-baritone has a sufficient woolly and density but it isn't that gravelly nor has a darker tone due to lack of depth on it as I noticed on the vocal quality and texture of Andrew Eldritch, Louis Armstrong and Barry White.


MIDRANGE:

The midrange of Quintet appears to have a neutral, clean and translucent with bright characteristics that will be beneficial more on some female vocals, strings and woodwinds. Although I noticed a slight notch presentation on its overall frequency range spectrum.

As I noticed that male vocals especially on most baritones and tenors are quite lacking in strength, weight and volume but it manages to give a flexible and bright tone on leggero tenors, some lyric tenors and countertenors. Baritones have milder and less warm tone as I'm listening to Billy Idol, Lenny Kravitz and David Bowie, Don't expect a steely, fuller and strength on Kavalierbariton and Verdi baritone as they sound rather sweeter and way too smooth as I listen on both Dmitri Hvorostovsky's and Robert Merrill's vocal qualities. Countertenors sounds excellent on Quintet as they have a smooth, agility and fiery style as they are hitting with their highest modal range. Andreas Scholl, King Diamond and Geddy Lee are few exceptional countertenors singers that I'm for volume and texture on vocal quality of this particular vocal type. Contraltos seems to have decent warmth and power but I also noticed that they don't have depth and volume to give a fuller and rich tone on singers like Annie Lennox, Anggun and Toni Braxton. Mezzo-sopranos and sopranos somehow sound better as the former vocal type has a smoother and tender while the latter one has more silvery and shimmering that benefited on how this set was tuned. Florid and rapid vocal passages along with an energetic and volatile tone on coloratura sopranos was almost perfect executed on how I enjoy to listen to Olga Pereyatko and Diana Damrau with their sweet and provocative vocal qualities although there are some pitfalls in which I will point it out later.

On instruments, string instruments like acoustic or electric guitars have this bright, crisp and lingering sounds as I hear those plucking, strumming and fretting on their string notations while violins have a bright, clear and metallic sound. Woodwinds like flutes have brilliant, silvery and bright though sometimes there's a shrill on it. Piccolos have a brilliant and penetrating sound from them while both clarinets and saxophones have incisive, bright and reedy sounds. Percussive like snare drums seems to have dry and sharp sound from them, field drums and toms have resonant and hollow sound, and then kettledrums seems to have a resonant and dry sound from it. Brasses like trumpets have a vivid and metallic tone while trombones have sinister, intensity and overpowering sound that somehow doesn't blend well with other types of instruments. Pianos relatively sounds more balanced to bright tone that gives an even and sparkly sound.


HIGHS/TREBLE:

The treble response of Quintet is definitely on the brighter side tuning as it has shimmer, crisp and clarity due to the perceptible elevation on the upper midrange and presence part of the treble region. But there will be some trade offs on that in a long listening session, it might give some treble-sensitive folks a listening fatigue due to some minor occurrences of sibilance on sibilant-laden tracks particularly on female voices with high vocal range.

It gives a more precise tone and attack on some instruments like cymbals, hi-hats, glockenspiels and celestas. Cymbals have a glistening and metallic sound on every hit, glockenspiels have a bright and penetrating sound and celestas have that ethereal and shimmering sound, and then on hi-hats, they have a shortened buzzing to give that distinctive chick sound. When it comes to brilliance treble quality and quantity, Kiwi Ears Quintet is one of the few sets that is quite excellent on sparkle and treble air. It has a good amount of harmonics and a remarkable quantity of air.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

While it has an impressive lateral span on its perceived sound/speaker stage with good height ceiling, its depth was its chink of its armour as I definitely notice its inadequate texture to give a rather flat and linear presentation but in my opinion, I think its fine as there are times that my listening mood wants a more neutral, flatter and clinical presentation. So far, it gives me a good spacious head room within my aural sphere.

The imaging presentation of the Quintet has a concave-like sound field that gives me that almost atmospheric-like impression as I was able to pinpoint the position of vocals and instruments with good separation and decent arrangements of each tonal and frequency layers of instruments and vocals in a black sonic canvas. With good projection of its imaging aspect, playing some complex tracks will be easy-peasy for this set.

On cohesive performance of its quad driver set, it has a good transient speed on its dynamic while the balanced armature drivers, piezoelectric driver and MPT driver able to deliver a resolving and good output capacity for seamless sonic performance.

Regarding its resolution capabilities, it has good micro-dynamics due its sharp definition on retrieving a substantial amount of details and nuances of datas from an audio track. But on the macro-dynamics, while it has solid fundamentals, you will also notice a tad leaner on its note weight but at least it doesn't have that mushy nor too smoothen characteristic that will be detrimental on its overall resolution.


PEER COMPARISONS:

CELEST AUDIO PHOENIXCALL

■ Like Quintet, Phoenixcall also has a hybrid driver configuration albeit it doesn't have a piezoelectric driver. It also has a resin shell but on its form factor, it has a modified UIEM-style but still gives a good fitting and comfort. Both have good product packaging but Phoenixcall has better product presentation and more ear tips and other paraphernalias. And it should be noted that Phoenixcall is way cheaper when it comes to its asking price.

■ Phoenixcall has a warmer V-shaped sound signature which is quite contrasting to a mild U-shaped with a more balanced and neutral sound of the Quintet. It has a more pronounce bass response with more bodied mid bass, a recessed midrange but somehow it has more texture on male vocals and instruments like percussion and brasses and similar treble response but Phoenixcall have less airy treble compared to the Quintet.

■ On technical performance, Phoenixcall projects a smaller sound/speaker stage compared to the Quintet but its depth is more substantial compared to the sparseness of Quintet. It has a similar imaging which projects a concave-like sound field presentation. While Quintet has better detail retrieval, Phoenixcall has more solid macro-dynamics.


SEE AUDIO RINKO

■ In an IEM which has similar driver configuration and also has a new type of driver which is a flat panel driver that is also marketed as "micro-planar transducer". But the difference was that Rinko doesn't have a balanced armatures nor piezoelectric driver. It has a 3D-printed shell chassis. On product presentation, both have its own strengths, while Quintet has more ear tips to choose from, Rinko has better quality on stock ear tips and a more premium-looking IEM storage case and other quality goodies. And Rinko is more cheaper than Quintet, like over half its price.

■ Rinko has a more V-shaped sound profile that makes it a fun sounding compared to the Quintet. It has a more punchy bass response, a noticeable notch on its midrange presentation especially some instruments and vocals are either laid back or less pronounced in the overall presentation and similar treble quality as they both have a brighter response but Rinko has only a moderate treble air.

■ On technical aspects, Rinko has only an average sound/speaker stage proportions but at least it has better depth compared to Quintet. Rinko has a more solid volume and density on its macro-dynamics while its detail retrieval is above average as it able to extract some nuances and details from an audio track.


To summarise the overall facets of Kiwi Ears Quintet, it is definitely an improvement compare to the Quartet as it has newer driver set-up, more compelling design of its shell while removing the toggle switches and better tuning and more improvement on its technical capabilities over its predecessor. Kiwi Ears Quintet is truly a well-polished and all-performer set despite minor noticeable drawbacks on some of its capabilities.

Kiwi Ears Quintet is a product testament on what Kiwi Ears can do on their continued refinement of their products. This is actually the first "quadbrid" configuration in under $US300/£242 price range and its a very compelling product that portable audio enthusiasts should try.

Kiwi Ears Quintet is now available in LINSOUL, check out the unaffiliated link down below.

★★KIWI EARS QUINTET - LINSOUL★★


And also checkout my reviews on other Kiwi Ears products:

● KIWI EARS CADENZA

● KIWI EARS QUARTET

SPECIFICATION:

MODEL: KIWI EARS QUINTET
IMPEDANCE: 32Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 20Hz – 30KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (2) BALANCED ARMATURE DRIVERS + (1) PIEZOELECTRIC DRIVER + (1) FLAT PANEL 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 KIWI EARS 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 KAREENA TANG of LINSOUL for providing this review unit as a loaner unit. I truly appreciate her generosity and trust towards me and other reviewers.

Canon has many definitions, it could mean the authentic work of a writer, a body of standards and principles or in fanfiction, a set of events that are accepted by a fan based and/or from the official author to have actually occured on the narrative of the story, In this sense, the name of the earphones suggest a sense of authenticity in the sound it produces.

But the actual inspiration of the naming scheme, according to YANYIN, was the particular term in music theory that for a piece of a musical composition relying on counterpart techniques where a melody was followed by a series of mirror notes of the exact melody played after specific time intervals. Classical composers like Franz Hayden, Ludwig Van Beethoven, Johann Pachelbel and Johann Sebastian Bach, all had their own styles of canon composition that really defines the musical structure up to this day.

YANYIN TECHNOLOGY CO. LTD is one of the newcomer audio companies that really took a storm in the portable audio scene last year with their offerings like the Aladdin, the Canon (Gen 1), the Mahina (which was a collaboration with HBB) and the Moonlight. It is said the company was founded by a group of audiophiles who want to provide the best possible audio product that fellow audio enthusiasts and professionals for a reasonable price. When I saw some of their first impressions and reviews in some reputable audio enthusiasts sites. I really yearned to be able to test one of their products someday.



Fast forward and after over a year, I finally have it as YANYIN offer me a chance to do a review of their latest product, The YANYIN Canon II. The Canon II is the continuation and improvement of the previous Canon. Like its predecessor, it has dynamic driver + balanced armature hybrid driver configuration but YANYIN claims that its internal parts like electronics and passive crossovers have been slightly improved like better transient attack and decay, better bandwidth performance and a refinement of separation and layering capabilities. It is also said that the further development and refinement of its crossovers also improves the bass response, gives cleaner and clearer midrange and smoother yet detailed treble quality.



As given by the new official representative, Mr. Joseph Yeung in addition to the additional info available on on the LINSOUL page, The Canon II drivers consist of a single 10mm dual chambered dynamic with bio-cellulose a.k.a. paper-cone diaphragm along with its supporting 4 custom balanced armature drivers. The dynamic driver will simply handle the low frequencies for better depth and more lively presence. The balanced armature drivers handle the rest of the frequency range regions for harmonious and cohesive sonic performance. These drivers were connected in a 3-way configuration on an electronic crossover along with specific acoustic tubes for each frequency range.




These drivers are encapsulated in high quality medical-grade resin shell that was moulded through a handcrafted process to ensure a well-done craftsmanship. It takes a UIEM-style contours as its form factor which is already a proven design for fitting versatility to all ear sizes. The said shell chassis of the Canon II is an overall improvement over its preceding model as it was slightly redesigned to mitigate some previous feedbacks like some instances of driver flex. Its faceplate was beautifully designed as it reminds me of the planet Uranus or the galaxy itself. It is also noted that this set has two toggle switches at the top part of the shell for handling the low frequencies to give some tuning variables to choose depending on our preferences. Canon II uses a proven 0.78mm 2-pin connector as its detachable mechanism.



YANYIN Canon II has a premium-grade cable as its stock part which is very supple, smooth and flexible so that it offers some resistance from entanglement. The cable employs four cores of graphene mono crystal silver plated copper wiring for better sonic performance and low chances of having a microphonic effect. You can choose a type of termination plug upon ordering it as it offers 3.5mm SE, 2.5mm balanced or 4.4mm balanced.



Regarding its product packaging, YANYIN Canon II indeed has typical midranger product packaging with a decent amount of inclusions. It has black-coloured rectangular box with a well-organised placement of accessories inside of it.



Here are the following contents inside:

■ the pair of YANYIN Canon II IEMs.

■ Stock cable (2.5mm, 3.5mm or 4.4mm plug according to your choice at the time of purchase)

■ Faux-leather IEM storage case.

■ Four(4) balanced bore ear tips in different standard sizes.

■ paperwork like instruction manual, tuning guides and warranty card.




As for amplification requirement, despite having multiple types of drivers on its transducers, YANYIN Canon II is an easy to drive that a more common portable multimedia device like smartphones, tablets and DAPs will be able to deliver a decent power output for optimum performance. A sufficient amount of power will give a full range and dynamic sound quality.


When it comes to tonal aspect, YANYIN Canon II offers a variation of U-shaped sound signatures.

Legend (■ = up, □ =down)

■■ - It has the most prominent bass boost among its tuning setting modes.

□□ - Sub-bass is somewhat the focal point of its tuning while attenuates the mid bass texture. Some might even perceive it as "warmish-neutral".

■□ & ■□ - The most "balanced" sounding among its tuning setting modes, it has marginal emphasis in the bass to midbass over the □□ tuning mode.


(Graph was provided by @baskingshark , credits to him)




LOWS/BASS:

My initial impression of its bass characteristic is that it is quite punchy, precise and well-articulated bass response and that it is well-separated and very clean sounding for a midrange hybrid driver set-up.

I can ascertain its good quality sub-bass depth as it has discernable rumble and reverberations coming from subbass-focused instruments like low toned bass guitars, octabasses, synthesisers and drum machines. On the mid-bass part it was quite textured even on the □□ setting mode. The ■□ and □■ will give a substantial and sustaining note weight for some instruments while ■■ will give a fuller and darker timbre on bass-baritone vocals. I'll break down the several sound characteristics of each instrument and vocal type in different settings.

Bass guitars

□□ - Quite a clear-cut one as I was able to hear clearly those fretting, slapping and tapping plucking techniques as they have a more sustaining and rasping sound.

■□, ■□ - it sounds more resonant and has a broader sound to give a decent growl on it.

■■ - it has a more weighty and sombre tone that definitely roars on more domineering bass lines from Patricia Morrison on Lucretia My Reflection, Lemmy Kilmister on Ace of Spades and Cliff Burton on Motorhead.

Bass kick drum

□□ - Perceptibly, it has a rumbling and sustaining sound as I was able to feel its speed and precision.

■□, □■ - Apparently, it has a thudding and sonorous sound from this tuning setting.

■■ - Gives more authority and slam as it has a thunderous and full sound.

Bass-Baritone vocals

□□ - Just have enough weight on it. It appears to have a dark tone on them.

□■, □■ - Has a tad more substantial weight compare to □□ setting as it added volume and darker tone. Andrew Eldritch and Peter Steele have an espresso-like texture sound with a gravelly and resonant voice quality from them.

■■ - This setting makes the voice become a more dense and wool-like sound that gives a deeper, rumbling and darker tone. Both Louis Armstrong's and Barry White's vocals are almost accurately depicted here in my opinion as a I clearly hear their tonal colour.


MIDRANGE:

Even though it has a noticeable tad of recessed presentation of its midrange in ■■, ■□ and ■□ modes. It has a well-texture, clean, expansive and expressive sound that vocals, either male or female and instruments, all sound very natural, with good note weight and almost sounds accurate enough that I was able to enjoy them for a long listening session.

As a listener who is quite fond of midcentric tuning, I enjoy listening and determining the capability of an IEM based on rendering and projecting vocal quality. The CANON II definitely passed my test with flying colours as I feel the naturalness of its timbre. Again here are some of my observations on vocal quality based on its tuning setting modes.

□□ - It has an ample note weight on baritones, tenors, contraltos to sound natural while giving more sense of spaciousness and a tad energetic sound on mezzo-sopranos and sopranos vocals. Mezzo-sopranos like Andrea Corr, Stevie Nicks (in her old Fleetwood Mac days), Sinead O'Connor, Cecilia Bartoli and Sharon Den Adel have their fiery, smooth and tender vocals. Soprano vocals have silvery, sweet and silky tone that makes it an almost accurate and articulate sounding on singers like Mariah Carey, Susanna Hoffs of the Bangles, Alison Krauss and Olivia Newton-John in dramatic to soubrette genres. Coloratura sopranos particularly like Diana Damrau and Olga Pereyatko sounds quite decent but a light, agile and energetic vocal have some slight limitations on the Canon II on hitting high upper extension.

Instruments of any type sound very organic and almost realistic such that I was able to be captivate and have a pleasant euphonic sound to my lugholes. But I'll be more focus on strings, woodwinds and some percussive on this one. On strings, guitars both acoustic or electric have a very balanced to good overtone sound and violins have a lively and vibrant sound. And then on woodwinds; flutes have an ethereal and rich sound, piccolos have a graceful, agile and light sound from it, and both clarinets and saxophones have mild, melancholic and sonorous sound that complements well on some orchestral tracks. Pianos have rather warmish-balanced tone for a very even and well-balanced sound.

■□, □■ - This is where most baritones, contraltos, countertenors and even some mezzo-sopranos excels. Baritones have that smooth and lush sound as one would enjoy, as heard from e.g. Eric Woolfson of The Alan Parsons Project, Scott Weidland, Eddie Vedder, Jimi Hendrix and Billy Idol. Tenors have warmer, spicy and ringing tones as heard from modern contemporaries like Robert Plant, Freddie Mercury, Klaus Meine and Prince. Operatic ones especially lyric sopranoists like Placido Domingo have a graceful and dazzling sound while a heavier spinto such as Luciano Pavarotti has a darker and brassy tone. Countertenors like Andreas Scholl, King Diamond and Geddy Lee have these agile, warm and musky sound characteristics while hitting on their respective high chesty and falsetto range. Contraltos have a natural vocal weight projection on this setting as I listen to Annie Lennox, Toni Braxton and Tracy Chapman with their rich, smokey and well-rounded sound well represented by the Canon II.

On instruments, percussions like snares have a clear and precise sound, tom drums have a resonant and sustaining sound, field drums have retain their hard and venerable sound sig, and kettledrums have a deep and resonant sound. For brasses like trumpets and trombones, the former have a more brilliant and full sound while trombones have that "heroic" and penetrating sound. Strings like violins have the sensuous and sweeter sound while violas have that lively and introspective sound.

■■ - the warmest of all tuning settings. Baritone vocals particular on Kavalierbariton and Verdi have those steely, rich and fuller sound just as heard from Dmitri Hvorostovsky and Robert Merrill. As for instruments, brasses like trumpets have substantial sound, horns have a sonorous and resounding sound and tubas have robust and hearty sound. Field drums seem to sound more sombre to boomy while kettledrums a rounded and thunderous sound.


HIGHS/TREBLE:

The treble response of the Canon II appears to have a well-balanced, practically smooth character with just the sufficient amount of shimmer and crispness. It is probably one of the most refined and well-calibrated smooth treble responses that I have encountered in my years in audio enthusiasm as it has some similarities with Sennheiser HD600's treble quality which I really adored. The refinement on tuning of its treble frequencies will forestall the possible instances of sibilance and harshness while retaining a natural vocal presentation and well-rendered attack from both percussive and rhythmic instruments as I perceive those gradual slopes on upper midrange up to the brilliance part of the treble region.

Cymbals have a rather lustrous and undulating sound with decent sizzle from each strike. Hi-hats sounds are depicted accurately with their distinctive chick sound as it has a shortened buzzing tone while glockenspiels have their silvery and bell-like sound. As for quantity of air and harmonics, it has a rather modest airy extension and fair amount of sparkle.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

It has a rather moderately spacious head room as it has an above-average to wide lateral range on its sound/speaker stage with excellent height ceiling and good depth on distance between front and back to have that sense of immersion within its spatial cues.

On imaging, it projects an atmospheric presentation on its sound field and I was able to pinpoint the placements of vocals and instruments in a precise and accurate manner. It has excellent and well-defined separation of instruments and vocals, then well-placed and articulate layers of tones and frequency of each instrument that give a good depth and note texture such that playing complex tracks will be an easy-peasy for the Canon II as it can handle them effortlessly.

It has an excellent cohesive performance on its hybrid driver configuration as the dynamic driver performs a fast transient speed while balanced armatures were able to showcase their competent sound isolation.

The resolution capabilities of this set is remarkable in both macro-dynamics and micro-dynamics. It has well-rendered notation attacks, a strong rendition of reverb and ambience on its note dynamics and a reasonably sharp micro-detail definition as it extract a good amount of details and nuances.


PEER COMPARISONS:

HIDIZS MS5

● Both IEMs are of similar price range, MS5 possesses more inclusion like a variety of ear tips to choose from. Unlike Canon II, its shell is made of composite materials made of acrylic resin for its faceplate and a solid aluminium alloy on its nozzle and cavity base. Instead of opting for tuning switches, MS5 has its own tuning filter system which offers 3 different types of sonic profiles.

● As for tonality, since it has 3 sonic filters, I will compare them on a case to case basis. Bass response MS5 is more impacting and authoritative on red tuning filter but it is less clean sounding, Midrange presentation is way too recessed on MS5 in red tuning filter but somehow texture albeit Canon II is more refined as it is slightly recessed and at the same time it has correct note density on both vocals and instruments to sound way more natural. Treble response on MS5 especially on rose gold and silver tuning filters is somewhat a mixed bag, for sure it is more sparkling and airy than the Canon II but you will also encounter some jarring and shrill female vocals and instrumental attacks.

● Technical performance on both sets are quite contrasting. While the MS5 has excellent imaging, separation and layering capabilities, it's overall soundstage dimensions is rather average as it doesn't give me that spacious headroom that I want especially on a midrange set. While it has a good resolution capability, MS5's takes it in more "digitally" while the Canon II retains an organic and balanced timbre.


AFUL Performer 8

● In my opinion, Performer 8 is truly a rival for the Canon II. Both are of hybrid driver configuration but Performer 8 has more balanced armature drivers with its vaunted "RCL Network Frequency Division Technology". While the Canon II resin shell chassis are handcrafted, Performer 8 shell's undergo a 3D-printing process to ensure uniformity and better production, and the shells of the Performer 8 are smaller. They both have excellent product packaging and presentation. The Performer 8 doesn't have any gimmicky features like detachable tuning filters or toggle switches.

● When it comes to tonality, Performer 8 has a mild-U, almost a balanced-neutral sound profile. Performer 8 is comparable to the □□ setting of Canon II. It has good sub-bass presence but when I compare it to Canon II, its midbass is somewhat lacking punch and texture, yielding quite a dry presence, but it has a similarly clean bass response. On midrange, it has vocals and instruments with sufficient note weight for a have clean and articulate sound but Canon II has a fuller and robust note weight to give more definition on male vocals, rhythm and percussive instruments. The treble response is similar to the Canon II, smooth, clean and sufficiently energetic, but the difference between them was the quality of their brilliance part of the treble region in which Canon II has a tad more treble air and sparkle.

● As for technical capabilities, this is where the Canon II excels. For sure the Performer 8 has a capable imaging, separation and layering performance but its sound/speaker stage is on the intimate side which is quite average in my opinion. Resolution capabilities are on par for both sets as they both possess good macro-dynamics and capable micro-detail retrieval. Both sets have pleasant and natural timbre quality and both are well-balanced but each with their distinctive tonal capabilities.



The YANYIN Canon II is truly one of the most marvellous sets I have encountered at under £320/US$400. With its well-balanced, remarkable resolution, articulate sound quality and the consistency and cohesion from its hybrid driver configuration, I will definitely recommend this one without any hesitation at all.

If you want a lush, harmonious and detailed sound that can yet be enjoyed by treble-sensitive folk, this set is perfect for you. Job well done, YANYIN!

YANYIN Canon II is now available at LINSOUL, if you are interested to purchase, check it out the unaffiliated link down below.

★★YANYIN CANON II - LINSOUL★★

For more infos about YANYIN products, you can check it out on the provided link down below.

◆◆YANYIN FACEBOOK PAGE◆◆

SPECIFICATION:

MODEL: YANYIN CANON II
IMPEDANCE: 27-40Ω
SENSITIVITY: 112dB
FREQUENCY RESPONSE: 5Hz – 25KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (4) 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 *
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 YANYIN 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 YANYIN for providing this review unit as a loaner unit. I truly appreciate his generosity and trust towards me and other reviewers.

Rinko has many meanings in Kanji, "Rin" means respectful, ethical, dignified or beautiful sound and "Ko" means children or young girl.


Looks like we have a new set from SEE AUDIO and this one is quite unusual compared to their previous releases which are either hybrid or all-balanced armature configurations. To be honest, I'm quite a fan of SEE AUDIO as I owned some of their products like Yume Summer Edition, Yume Midnight and Bravery Limited Edition and my first hybrid set with premium Knowles balanced armature was a SEE AUDIO Yume.



This is SEE AUDIO Rinko, this is SEE AUDIO's second collaboration project, this time from different audio reviewer personality, Zeos Pantera of Z Reviews. It happens that I also did a product review with his collaboration from other audio companies, so let's see what was the concoction tuning result between him and SEE AUDIO.



SEE AUDIO Rinko is a hybrid driver IEM but this one has different driver configuration. It has one 10mm dynamic driver and one 7mm "planar" driver which is not a true planar magnetic but rather a newer type of flat panel type of dynamic driver that mimics some of the properties and working principles of a planar magnetic driver.




The drivers were encapsulated in a composite shell structure made of metal alloy on its face plate and a 3D-printed acrylic resin mould in its cavity base part (probably moulded by HEYGEARS). The overall design of its chassis appears to have a smooth finish to give a comfortable wear to the majority of its users. Like all SEE AUDIO products, it uses a proven 2-pin connector as its interlocking mechanism for its detachable system due to its familiarity and easy to set.



In a similar fashion with other SEE AUDIO products, it has a fairly good stock cable that complements the aesthetic design of the Rinko's shell. It had a twisted 4-core, high-purity silver plated OFC cable with 3.5mm SE termination plug.



As for fitting and comfort, it is quite light and it really sits well on my lugholes without any issues so that I can wear them for long listening sessions. Somehow, it is able to block a decent amount of external noises from the outside surroundings to give me a satisfactory passive noise isolation.



SEE AUDIO is one of the few companies that gives a product presentation and Rinko is no exception that it has a substantial amount of inclusions with eye-pleasing layout.



Here are the following contents inside of Rinko's box:

● a pair of Rinko IEMs

● stock cable

● 3 pairs of Render hybrid eartips in different standard sizes.

● a hard-bound faux leather IEM storage box.

● a round metal pin badge with an illustration of White Rinko.

● a portrait frame of Black and White Rinko.

● PVC contact card.

● Instruction manual.

●** Bonus ** an acrylic stand of White Rinko.




Regarding its amplification and power scaling, Rinko can be driven on normal gain mode but you will notice that it is sort of lacking in its dynamics. But putting it on better sources with more power output makes the Rinko a bit different as you will hear a fuller sounding and even more dynamic that makes me wonder why it behaves like a typical true magnetic planar IEM when it comes to required optimum power output.



As for its tonality, SEE AUDIO Rinko is quite different compared to previous models. This time, it has a V-shaped sound signature where bass and treble frequencies are elevated and more emphasis and noticeable recessed midrange.



LOWS/BASS:

The first observation on the bass response of Rinko is that it is rather punchy and with authoritative slam as both bass parts are quite capable of delivering on such quantity and quality. Though there are some occasional bass bleeding across the lower midrange frequency.

The sub bass seems to dig deep to produce a good rumble from some tracks with synthesisers, drum machines and low tuned guitar. The mid bass has a rather sufficient texture just to give an ample density of notes on bass guitars, bass kick drums and bass baritone vocals. Bass guitars have resonant yet mellow sounding while bass kick drums have a thudding and eerie sound on every hit. Bass-baritones seem to have a dark and dense tone but I noticed that its a bit hollow with less depth on it.


MIDRANGE:

The midrange presentation is undoubtedly recessed and tad leaner but still delivers a clean and expressive response on female vocals and instruments like strings and woodwinds.

I observe that vocals like baritones, tenors and contraltos have lack of depth, texture and heft and it sounds leaner and lethargic compared to the natural tone of these particular vocal types which should have a dusky, rich and smoky tone. But on countertenors and mezzo-sopranos, I'm actually enjoying and quite mesmerising the vocal clarity of certain artists with the likes of King Diamond (Mercyful Fate), Roland Gift (Fine Young Cannibals), Andreas Scholl, Andrea Corr (The Corrs), Sharon Den Adel (Within Temptation) and Cecilia Bartoli as they have an agile, glowing and fiery tone from them. Sopranos seems to perform pretty well on Rinko as it has an energetic and bright voice to give more expressive and passionate vocals as they sound bell-like and shining. I enjoy listening to soprano singers in both modern contemporary and classical operas like Mariah Carey, Tarja Turunen, Diana Damrau and Olga Pereyatko.

On instruments, strings like acoustic guitars have a bright and crisp sound while violins have bright and metallic sound, and then harps have a blurring and splashing tone from them. As for woodwind instruments, flutes and fifes have a bright and penetrating sound, piccolos have bright and intense, although sometimes they are a bit piercing, clarinets have bright and brilliant sound and saxophones have a reedy and forceful sound from them. Other instruments like snare drum and kettledrums have a bright, sharp and dry sound while brasses like horns and trombones have a sharp, metallic and jarring noise. Piano tones appear to have a brighter tone than being warm sounding.


HIGHS/TREBLE:

Overall, Rinko has noticeable boost on upper mids as it gives a crisp and bright vocals and gives an edgier attack on instruments. Although, it is also noted that sibilance is mildly present especially if you play sibilant-laden tracks. Presence range seems to be elevated too as Rinko has good clarity and better rendering on details. There is a decent airy extension with a sufficient amount of harmonics to give an adequate sparkle and shimmer on Rinko as I'm tracking some tracks to test the quality of cymbals.

Cymbals have a shimmering and glistening tone while hi-hats have a sharp, shortened buzzing sound that gives that distinctive chicky sound. Celestas have bright and shimmering tone, and glockenspiels have tad metallic and brilliant sound.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

It seems that the overall perceived sound/speaker stage dimension is more average. It has an average width, above average height ceiling and sufficient immersive depth to give me a fairly middling head room within my aural sense.

It presents a typical imaging presentation with a two-dimensional stereo as I was able to locate the positioning of vocals and instruments but not in the most accurate manner. It has decent separation but the layering is rather passable as it was able to stack a two-layered tonal and frequency presentation on which it can playback decently on most cases with the exception of more complex, multi-instrumental tracks.

It looks like there's a good cohesive performance on both drivers as they execute it pretty well. Fast transient speed with good handling on decay on both gives a sense of homogeneity and precision.

As for resolution capabilities, both macro-dynamics and micro-dynamics are quite contrasting as Rinko is able to have ample impact on its note weight although compression of some dynamics is quite noticeable on this one while it has a satisfactory detail retrieval capability for a micro flat panel driver.



PEER COMPARISONS:

CELEST PHOENIXCALL

● Both are of hybrid driver set-up with the exception that PHOENIXCALL have additional balanced armatures for midrange to some parts of treble region to add more detail. It takes a form factor of a modified UIEM-style shell chassis made of acrylic resin. Both have excellent product presentations but PHOENIXCALL has more ear tips to choose from.

● As for tonality, PHOENIXCALL has also V-shaped sonic profile like Rinko which quite more warmer sounding which is more beneficial to all male vocal types and contraltos. As instruments particularly on strings, they sound less natural are they are way too warm that gives a "buttery" and warmer tones on guitars and violins. On treble response, they are quite similar but on upper-mids to presence range, it is way boosted to the point causes shrill, sibilance and strident sound.

● On technical aspect, PHOENIXCALL performs pretty well, as it has decently spacious sound field presentation and better imaging. The rest of the technical capabilities are alike with Rinko's.


CELEST GUMIHO

● Another hybrid set from CELEST, it uses a first generation of "square planar driver" which is another pseudo-planar magnetic driver but with lesser degree of having a full range sound as it has limited frequency range that it needs another type of driver which a balanced armature for supporting other frequencies like midrange and treble. It also has a substantial amount of inclusions albeit Rinko has better ear tips, more extra goodies and better storage case but GUMIHO is way more cheaper with more choices of ear tips to choose from.

● As for its tonality, GUMIHO has a mild U shaped sound sig that makes it more neutral and balanced sounding. It has a tighter and hollowed bass response, a more forward midrange presentation but the strings instruments sounds less appealing as they don't have that bright and crisp tone. Treble response seems to have a rather unevenness as it has borderline sibilance then meagre amount of sparkle and air.

● On technical capabilities, GUMIHO has a wider sound/speaker stage proportion but it has a middling performance on driver performance. And also, "BA timbre" is ever more present as it gives off metallic and tinny sound.


Looks like that SEE AUDIO takes more of an experimental route on this one as they try to adapt modern audio solution technologies like flat panel drivers as they try to get out of its bubble. SEE AUDIO Rinko is the result of this product development and they even enlist a well-known audio reviewer on YouTube to help out its tuning.

And it looks like that Rinko somehow achieve those goals despite of its middling tonal performance. And Rinko appears to starting point of the next generation of SEE AUDIO product line up and its "planar" driver has it potential on the next releases.

If you simply want a fun, engaging and vivid sound quality with good resolution capabilities then Rinko suits your preference.

SEE AUDIO Rinko is now available a HIFIGO, check out the unaffiliated link down below.

★★SEE AUDIO RINKO - HIFIGO★★

SPECIFICATION:

MODEL: SEE AUDIO RINKO
IMPEDANCE: 30Ω
SENSITIVITY: 104dB
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 + (1) FLAT PANEL 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 SEE 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 LVY YAN of HIFIGO TEAM for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Cetaceans are order of aquatic mammal family consists of dolphins, porpoise and whales. These creatures known to have a distinctive streamline physiological features that were adaptive on their environment, carnivorous diet, high intelligence in animal world and magnificently enormous sizes that makes them one of the most fascinating critters out there. Blue whales are the largest living animal in existence while the pod of the Orcas are one of the successful hunters in animal kingdom for their complex hunting tactics.


This is HIDIZS MP145, this is HIDIZS' effort for collaboration project with a conservation group that specifically taking care of these magnificent aquatic mammals and their habitat. Some of its initiatives will be donated and proceeds towards Whale and Dolphin Conservation (WDC).


HIDIZS MP145 is actually HIDIZS' first attempt on planar magnetic configuration on their latest line-up. As I mentioned that about its driver configuration, we in the audio enthusiast community already knows the capabilities of planar magnetics particularly on tonal performance and technical competency that only some few hybrids IEMs will able to match its resolution capabilities but at the expense of better current output to amplify these type of transducers.



HIDIZS MP145 have a new generation, 14.5mm planar magnetic driver. The composition of the driver are made of multi- layers of high quality N52 neodymium magnets which also have thin flat diaphragm with etched wirings on it that are precisely match to have a better sensitivity for faster transient response, better power efficiency of its magnetic circuitry with low distortion rating to deliver a crisper and rich detail with better technical performance.



These well-engineered drivers were enclosured into a solidly constructed metal alloy shell. The shape and an its overall aesthetics of the shell chassis were inspired by some physiological features of a whale like the tail at center with ventral grooves of bottom part of rorquals whales like Finbacks and Blue Whales. It also has cleverly-placed ventilation ports for better bass response and at the same time, an escape hole for excess air pressure generated by its high performance driver. Like all current HIDIZS models, it takes a feature from its recently released Mermaid series with its innovative detachable tuning filter system, The "HIDIZS Pneumatic Sound Tuning Filters". These feature will became a staple feature of all current HIDIZS sets as it offers three types of sonic profiles for better tonal preferences.



Like all HIDIZS IEMs, it uses a proven and sturdy 2-pin connector as its detachable mechanism along with a high quality, 4-core, high purity single crystal, oxygen-free silver-plated copper cable to ensure better flow of signal output. HIDIZS offers two option for its termination plug, either its a 3.5mm SE and a 4.4mm balanced.



Despite of its heft and size, MP145 still offers a good comfortable wear as it rest well into my lugholes even in a long listening. Its contours also gives a better sealing and a good passive noise isolation as it able to blocks some external noises from the outside surroundings.



In product packaging, HIDIZS is one of the few audio companies that gives a good product presentation on their products with its well-organised placements of contents and other accessories that gives a pleasant unboxing experience.



Here are the contents inside of its packaging box:

■ a pair of HIDIZS MP143 IEMs.

■ a 4-core stock cable.

■ a miniature transparent box for HIDIZS Pneumatic Tuning Filters sets.

■ 3 pairs of "vocal" ear tips in different standard sizes.

■ 3 pairs of "balanced" ear tips in different standard sizes.

■ 3 pairs of "bass" ear tips in different standard sizes.

■ an IEM storage case with magnetic clasps.

■ Some paperwork like instruction manual and warranty.



Like all planar magnetic sets, MP145 needs a better current output to amplify it properly and to deliver a very vivid and full range sound. But to my surprise, MP145 is one of the few IEMs with planar magnetic that easy to drive especially on my LG phones in normal gain mode at decent amplitude level (around 60-75% of its volume level) but you will still find it lacking of its dynamics knowing the inherent principle of magnetic planar.



Since it has a tuning filters, HIDIZS MP145 offers 3 kinds of sonic profiles with its colour-coded tuning filters. Here are some sound signatures that MP145 has to offer:

ROSE GOLD - it offers a mild U-shaped sound signature. It has slight accentuated lows and highs with a neutral midrange to give a balanced presentation.

RED - it focuses more on low frequency while there is a noticeable attenuation between midrange to the presence part of the treble to give a more L-shaped sound.

SILVER - it gives a brighter U-shaped response due to some noticeable boosts on the presence part to the brilliance part of the treble region.




Here are some of my observations on its sound characteristics.


LOW/BASS:

The low frequencies of MP145 are absolutely elevated and well-emphasised especially on red tuning filter mode. It is quite punchy, tactual and considerably clean given that it has a well-textured mid-bass that gives more body on bass instruments and a certain type of male vocal. All tuning filter modes have similar bass response characteristics. If you want to focus more on bass quantity, try the combination of red colour tuning filter with bass ear tips to give a more fuller and authority but don't expect that this is basshead's bass quantity.

It has a good sub-bass quality as I clearly hear those reverberations and rumble from octabasses, synthesisers, low toned bass guitars and drum machines from orchestra, hip-hop and synth-pop tracks. Mid-bass is quite well-textured that it gives more note weight on instruments like bass kick drums, bass guitars, cellos and also on bass-baritones vocals. Bass kick drums have a thudding and sustaining sound as it can handles some fast double bass kicks from extreme metal tracks while bass guitar have good weight and resonant tone from them on any plucking techniques from Steve Digiorgio's masterful fretless to Les Claypool's distinctive strumming and slapping. Then on cellos, it has this sonorous, full and open sound (on red filter and bass ear tips, it sounds more weighty and power). On bass-baritone, this is probably one of the best rendition on how it projects its tonal quality in a quite natural way in the realm of planar IEM sets as it has this wool-like and dark timbre with good depth as I listen to some singers with this kind of male vocal type like Andrew Eldritch, Louis Armstrong, Peter Steele and Barry White.


MIDRANGE:

The midrange was presented in a more neutral and somehow a tad notch especially on rose gold filter and silver filter. But due to the intrinsic nature of planar magnetic, it has quite detail, clean sounding sounding and somehow it has an ample warmth to give some dense on note weight for vocals and instrument to sound more natural. I'll divide my observations regarding the tonal qualities of vocals and instruments for each tuning filters:

RED COLOUR FILTER - This setting seems to make all types of vocals either from male and female more balanced and neutral. It also observe that it lessens a bit the pitches of sopranos particularly on lyric and coloratura types but it gives more emphasis on baritones, tenors and contralto. Same with instruments especially on strings and woodwinds that it diminishes the shimmering and crispness a bit. Baritones have a rich, authoritative and lush tone especially on noble baritones, verdi and kavalierbariton. Frank Sinatra, Jimi Hendrix and Dmitri Hvorostovsky were few examples of baritone singers that they sound great on this setting. Tenors have a clear and dazzling sound as I listen to spinto types like Luciano Pavarotti which has more dark and heft on his vocals and lyric baritones like Placido Domingo and Jose Carreras. I also enjoy some modern contemporaries like Freddie Mercury, Lenny Kravitz and Prince. On instruments, it appears that some brasses and percussions benefited more on this type tuning. Trumpets have fuller and warm tone while horns have ponderous, full and sonorous sound from them, and trombones have powerful sound and brassy tone. Field drums and tom drums have warmer, sonorous and sombre sound from them while timpanis have a heavy and thunderous sound which quite blend well with other bass-focused instruments on orchestral tracks in unison.

ROSE GOLD FILTER - This give a brighter and more open sounding on female vocals and gives more bite and attack on strings and woodwind instruments. It gives more brimming and spiceness on some vocals particular on modern contemporaries genres like Robert Plant, Dio, Klaus Meine and Justin Timberlake. Countertenors seems to have that agile, "golden" and velvety on which it happens that it share similar characteristics with mezzo-sopranos vocals. Contraltos have a natural tone as I listen to Toni Braxton and Tracy Chapman as they have that particular husky sound, sufficient weight and dark timbre from their low chesty tone. On mezzo-sopranos, I'm enjoying to listen the vocal qualities of Ella Fitzgerald, Andrea Corr and Sharon Den Adel on contemporaries, and on operatic ones like Simone Simons and Cecilia Bartoli. Sopranos looks to be have these more energetic, vivid and spacious sounding that leaves me a captivating as they have a shining and crystalline quality of their tone as I'm enjoying listen to Alison Krauss and Tarja Turunen. Strings instruments like acoustic and electric guitars have a sparkle, balance and lingering tone as I enjoy either acoustic or solo guitar lines, while on violins, it does have a vibrant, clear and sweet sound from them. On woodwinds, flutes have brilliant and silvery sound from as I enjoy flute lines on Jethro Tull and some military marches like Ottoman Mehters. Saxophones and clarinets have these forceful, reedy and mild tone. Pianos have rather brighter tone as they sound clean with brilliance.

SILVER COLOUR FILTER - this particular setting will give more intensity and expressiveness to vocals and instruments at some point that they might sound a bit overstated from its supposely natural and correct tone. It gives more range and strength on lyric and coloratura sopranos as they sound more shimmering and brimming with velocity as l listen to Diana Damrau and Olga Pereyatko that leaves me into euphonic and hypnotic state. It seems that it gives more crisp and brighter tone on acoustic guitars, a more metallic and shrill on violins, a more sharper and brighter tone on snares drums. And a tad brighter and brilliant sound on picollos in which might be too extreme to some listener who are quite sensitive on this frequency spectrum.


HIGHS/TREBLE:

Due to constitutive quality of planar magnetics, MP145 is definitely a bright sounding set that it has crisp, gleam and excellent delineation on details. It is also noted that it has very airy and sparkling with sufficient amount of harmonics. Different tuning filters somehow influences the quantity of treble response.

RED COLOUR FILTER - Somehow it attenuates a bit the emphasis on upper-mids and presence treble region but it still retain a good attack and definition while it lessens the possible occurrences of sibilant and stridency. Hi-hats seems to have a good shortened buzzing sound while celestas have lustrous and ethereal sound. Cymbals have a lustrous to glistening tone yet quite sizzling.

ROSE GOLD FILTER - compare to the red colour filter, it has tad more boost and intensity on the upper midrange towards presence treble to give a more "balanced" sound. It sharpens the attack and precision on vocals and instruments to have more presence ane intensity while it has more clarity and crisp on the presence part of the the treble region. It gives a brighter and resonating sound on celestas while a cymbals have a bright and glistening tone.

SILVER COLOUR FILTER - it has similar tuning alignment with Rose Gold filter albeit it has noticeable more boost that some treble-sensitive folk might find it unpleasant. The particular boost gives more emphasis on consonants that might gives some instances of being sibilant while a tad shrilly and piercing sound in high-pitched female vocals. Its gives more metallic and piercing sound on cymbals while a strident and shrill on glockenspiel.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Depending on the ear tips that will be used on MP145, It varies as it gives an above average to reasonably spacious sound field dimensions. It has an above average lateral wingspan, good height ceiling and pretty immersive depth that gives me a moderately spacious head room within my aural sense.

As for its imaging projection, It seems that it presents a rather concave-like sound field as I was able to pinpoint and panning the position of instruments and vocals in a spatial stereo. It has good separation and layering as I was able to perceive a fairly arranged frequency and tonal layers of each instrument and vocals in a sonic canvas, so playing a more complex multi-instrumental is not an issue for MP145 at all.

Coherency of the planar magnetic is unmatched when it comes to speed and precision that it will be able execute an envelopment of sound. It still has that "planar sheen" timbre but to a lesser degree compared to some planar sets that I have tested before.

Resolution capability of MP145 is perfectly rendered on both macro-dynamics and micro-dynamics as it was able to deliver a solid and astounding dynamic sound while it has sharper detail retrieval as it is able to gain some nuances of info from an audio track.


PEER COMPARISONS:

MUSEHIFI POWER

● Product presentation-wise and quantity amount of inclusions, both products are on par. They even have quality accessories, from cables to storage cases. While MP145 is an all metal build with detachable tuning filters, POWER has a high quality medical grade resin as its prime material of its shell chassis. Both have rather chunky shell sizes but MP145 has a better fitting in my opinion.

● As for tonality, POWER is a U-shaped sound signature that has punchy bass but not the most authoritative unlike MP145's bass response. Midrange has an ample warmth to give a texture but on tonal and timbre on vocals and instruments, it sounds less natural to overboost that affects the tonal qualities. Treble response of POWER was less refined and needed some polish as it has observable jarring and sibilant sound and it was also less airy to compare to MP145.

● On technicalities, they are quite similar but POWER appears to have more "planar sheen" characteristic to give that buzzing, tinny and jingling sound that most planar has. Also, POWER is more power demanding than MP145.


TANGZU AUDIO ZETIAN WU HEYDAY

● Both have excellent product presentation and quality accessories. Like MP145, HEYDAY's shell chassis is also made of metal, in particular aluminium alloy. Both of their shell designs are contrasting as HEYDAY takes some inspiration from the curved geometrical pattern from the Tang dynasty era. Although HEYDAY's stock cable is a modular one to make it more versatile to most known device sources. And also HEYDAY was more expensive when the time of its release.

● HEYDAY has a warmer U-shaped which is quite similar to the rose gold tuning filter mode of MP145 albeit it is less warmer. Both have solid midbass response but HEYDAY is less brighter, less crisper and even less airier compared to MP145's rose gold and silver colour tuning filter mode due to HEYDAY's safe and smoother treble quality.

● It seems that HEYDAY and MP145 are alike when it comes to technical performance. Both of them have less "planar sheen". But HEYDAY is more power demanding than MP145 as it needs more power current to drive it properly.


LETSHUOER S12 PRO

● Again, S12 PRO's shell chassis are made of metal alloy that undergoes a CNC-milling process. It has smooth finished surface and more rounded contours unlike MP145's edgy and groove aesthetics . It has a similar price tag with MP145 but the difference that it has a modular cable to make it more versatile to all types of headphone jacks from DAPs to desktop amplifiers.

● As for tonality, it has more U-shaped which is more comparable to MP145's silver tuning mode as both sounds quite bright and energetic, S12 PRO has more sub-bass focus and a less textured midbass compared to MP145. Midrange of S12 PRO is quite leaner and noticeably more recessed compare to MP145 but both have similar vocal and instruments rendering to have crisper and brighter tone especially on strings and woodwinds. S12 PRO's treble response have similar qualities with MP145's silver tuning filter as both have boost on the upper mids and airy response albeit occurences of sibilance are quite present.

● Both S12 PRO and MP145 are eerily similar when it come to technical capabilities but S12 PRO has a tad wider sound/speaker stage and more height ceiling. And its seems that S12 PRO has more noticeable "Planar Sheen" compared to MP145 which has more characteristics of a high performance dynamic driver rather than a magnetic planar.



Before I end my review on HIDIZS MP145, Let me share some of my previous insights and impressions regarding planar magnetic IEMs. To be honest, I'm quite very sceptical on the implementation of planar magnetic drivers on IEM transducers due my animosity on the first generation of planar IEMs for being power hungry as it needs more power output from its source which should be desktop-grade DAC/Amp. That excessive power demanding nature of Planar IEMs really kills off the portability and mobility function of a portable audio stuff.

But as time goes by and some improvements of miniaturise planar technology. It became less power demanding that a competent smartphone with high quality Hi-Fi grade DAC or a portable USB Hi-Fi DAC/Amp dongle able to drive them decently. And HIDIZS MP145 is one of the refinement product that it able to execute an amazing performance with remarkable sound quality and competent technical performance.

I also noticed that HIDIZS is quite adaptive and even persistent on refining its product in every next release which makes them very commendable audio companies out there. If you want a planar IEM which very capable on both technical and tonal performance at a very reasonable price, then MP145 is for you.

HIDIZS MP145 will be available for pre-order at KICKSTARTER. It will be also available on LINSOUL in the future, so check out the links down below.

★★HIDIZS MP145 - KICKSTARTER★★

★★HIDIZS MP145 - LINSOUL★★


There's also a limited edition of HIDIZS MP145.



Here are my other reviews of other HIDIZS products:

■ HIDIZS S9 PRO

■ HIDIZS XO

■ HIDIZS MS5

■ HIDIZS MS3




SPECIFICATION:

MODEL: HIDIZS MP145
IMPEDANCE: 30Ω
SENSITIVITY: 104dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78MM)
PLUG TYPE: 3.5mm
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 HIDIZS 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 ZOIE HELLO of HIDIZS for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Rosewoods are an endemic species of trees found in South Asia to Southeast Asia and South America. They have this distinctive brownish hues and colour with darker stripes and veins. Their woods are known for its strong and pleasant sweet scent that it exudes and they are usually used on woodworks, furniture and musical instruments. Speaking of musical instruments, its hardness and easy to polish properties are a valuable choice for acoustic and electric guitars, violins, some woodwind instruments and marimbas as it also produces a good acoustic effect.


Oi! Welcome to my latest IEM earphone review and what I have here is KB Ear's latest budget range product, The KB Ear KB-KW1. I did some product reviews of their products before and I'm glad that I was able to do a product review for them once again.



KW1 is an IEM earphone with single dynamic driver and enclosed in a preform rosewood shell chassis with non-detachable cable. Its dynamic driver has an 8mm size along with its diaphragm made of LCP (Liquid Crystal Polymer) for better dynamic response and resolution capabilities. As I mentioned a while ago about the rosewoods' acoustic resonance properties on some instruments, KBEar also tried to implement it here too. The wood shell chassis seems to have been coated and they are quite light too.



Wearing the KW1 is quite comfortable as it rests well into my lugholes without any discomfort issues.



Since it is non-detachable, KB Ear offered two options of termination plug types for their silver-plated copper cable; a 3.5mm SE, 3.5mm with mic and a USB type-C with built-in DAC inside. It has HD-grade microphone with some basic function buttons like volume keys and pause and play.



I will also insert another KB Ear product here. This one is their latest budget wireless bluetooth module for IEMs, The KB-BT5. It is an ear hook-style wireless contraption and it was rated to have a Bluetooth 5.1 as it uses a Bluetooth chip from Jerry JL, JL-AC6956AP which also has a DSP integrated chipset for improved signal clarity, less latency and better transmission range up to 10m. The said bluetooth chip also have power regulator for low power consumption for either active use or standby mode.



KB Ear offers three types of bi-pin connectors; QDC-type, TFZ/NX7-type and the more standard 0.78mm. As for audio protocol, it only supports a lossy standard format like AAC and SBC, So no LDAC or APTX/HD codecs for listeners who want a more advanced Bluetooth module codec.



It has a small built-in lithium-ion battery inside with a rated capacity of 110mAh that can store a decent amount of energy for up to 6 hours for both playback and standby mode. It takes an hour to fully charge it via its built-in type-C connector at the line control console. It also uses OFC wires on its cable for better signal transmission and better resistance handling.



The overall material of BT5 is somehow decent and durable enough as it is made of high quality plastic on its consoles while the insulator on its cables are made of environmentally friendly PVC material and it is quite light to wear for any activities.


On its line control console, there is a LED light indicator for charging and connection status. There we can find the three basic key buttons, two for volume adjustments or next and previous tracks for one-second press and the other one is for play, pause and power mode. The play button also serves as for basic call/answer button option, press click once for answering or to end the call and press one-second for rejecting a call.



Both KW1 and BT5 have a plain product packaging with rudimentary inclusions. Both of them are packed in small rectangular boxes.



Here are the following contents inside of each product:


KW1

● KW1 earphone
● 3 pairs of grey-coloured ear tips in different standard sizes.
● 3 pairs of white-coloured ear tips in different standard sizes.
● IEM storage bag
● Instruction manual




BT5

● BT5 ear hook-style bluetooth module cable.
● A short type-A to type-C USB cable.
● Instruction manual



With an impedance rating of 16 ohms and a sensitivity level of 105 decibel, KW1 is an easy to drive set. With a decent amount of power output from its sources either its from smartphones or DAP (Digital Audio Player), it will be able to amplify its sound with full dynamics.



As for tonality, KB KW1 has a warm U-shaped sound signature. It has more emphasis on bass and treble and a tad notch midrange.




LOWS/BASS:

The bass quantity of this set is definitely robust and full. It has a boomy, authoritative and slams very aggressively that will be a detrimental factor to the qualities of other parts of the frequency range. In the low frequency region, the mid-bass part is more dominant over sub bass as it shows more heft and texture on its note weight of instruments and vocals. This is indeed a bass-head's bass response.

There's a substantial rumble as I felt it from sub bass-focus instruments like octabasses, low-tuned bass guitars and synthesisers. The treated rosewood seems to have acoustic effects on dampening some excess reverberation effect. As I said about its dominant mid bass response, it affects the tonal characteristics of certain instruments and vocals. The bass kick drums have a heftier and boomy sound, while bass guitars have that weighty and earthy tone, and then bass baritone vocals have dark and gravelly tone as it reach its farthest depth drop.



MIDRANGE:

Due to boomy nature of bass frequencies that encroaches across the frequency range spectrum. It really veils that it gives a warmer and lusher tone particularly on male vocals and some brasses and percussive instruments. It is also noted they tad recessed and a bit laidback in general midrange presentation.

On male vocals, baritones have that too warm and robustness on their voices particular on deeper types like Kavalierbariton and dramatic. Dmitri Hvorostovsky's excels on this as it has a rather steel, power on it. Eddie Vedder and Billy Idol also excels on the heftiness and fullness too. Tenor especially lyrical types appears to have warmer but lack of brightness and spiciness from them with likes of the two great tenor singers, Placido Domingo and Jose Careras. Luciano Pavarotti which has a slight different type of tenor seems to have very robust power but less emotive in my opinion. On countertenors, they have this agile and smoothness but I noticed that its too broad and tad warmer and less tender in which mezzo-sopranos share almost the same characteristics. Contraltos have a bit much of being husky and strong tone to the point that it is quite unwarranted on accurate depiction of the said vocal type. Both mezzo-sopranos and soprano won't fare on this one as they sound unusual that there's almost no distinction of them as they sound almost similar due to that inherently veiledness that suppresses energy and gleam that affects the sweet, ethereal and expressive sound.

On instruments, it makes all strings more warmer and throaty sound like guitars, especially acoustic ones have these rather warm and "woody" dry tone (probably that rosewood have similar properties with mahogany that somehow dampens the acoustic reverberations) while violins have less vibrant and lively that they sound a bit austere and muffled. Percussive like toms and field drums have warm and booming sound from them while snares have cracking and dull sound from them. Pianos seems have a warmer tone from them while marimbas have the wooden and earthy sound from them which is quite closer to the accurate sound on live orchestral performance. Brasses like trumpets and trombones have a fuller, overpowering and solid tone. Woodwinds like flutes won't sound well on this one as they are less airy and don't sound ethereal and poetic but on saxophones and clarinets, they sound rounded, warm and sombre.


HIGHS/TREBLE:

That warm characteristic affects the quality of treble quality, it is unusually too silky smooth and leveled to the point its leaning of being dark sounding. The upper mids to presence treble were somewhat subdued and muted as it diminish the clarity, brilliance and most details but there is silver lining on this one, it will be highly recommend to the highly treble-sensitive folk out there. That muted and damp nature will quashed any chances of jarring, sibilant and harshness.

The cymbals sound rather lustrous, dry and dull sounding while hi-hats sound quite accurate with their typical short chick sound. It seems that sparkle with its amount of harmonics were quite restrained while the brilliance air has paltry extension.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

In general sound field proportions, it has narrow to fairly average lateral span while it has a reasonable height ceiling reach and good depth that gives it an unusual intimate yet not that congested head room.

Imaging appears to have a typical two-dimensional stereo presentation that I was able to locate the position of instruments and vocals but not the most pinpoint as I hardly grasp the exact cues within perceive spatial auditory. Separation and layering are quite dismal in my opinion and it performs crudely arrange the tonal and frequency layering that it will be an issue to more complex tracks like jazz and symphonic orchestra.

Coherency of its drivers seems pretty alright though for an LCP diaphragm dynamic driver, it is quite a tad sluggish compare to some sets with the same drivers with faster transient response and better handling in decay.

Regarding its resolution capability, it's a tad mushy in my opinion as its quite burnish on its macro-dynamics to the point that it loses the solid notes while it has a weak micro-detail due to its blunted definition.


PEER COMPARISONS:

KZ LING LONG

■ LING LONG takes a bullet-style form factor and it has a smaller dynamic driver. Its shells are made of aluminium alloy. It has a similar product presentation with equal amount of accesories. Although it has some driver flex in every time of insertion which is quite bothersome. It is also noted that it is also harder to drive given its micro dynamic driver configuration.

■ As for its tuning, LING LONG has a U-shape balanced-warmish tuning but it sounds more balanced compared to KW1. It has a more controlled bass response that doesn't smudge and veil over the other frequencies. On technical capabilities, LING LONG has a wider soundstage size and better resolution capabilities.


TANGZU PRINCESS CHANGLE

■ Compared to KW1, CHANGLE shells' are also made of metal alloy and it is more ornate. Like LING LONG, CHANGLE is hard to drive which makes KW1 more power efficient on amplitude requirements. While it has better product presentation, its contents are way more meagre compared to KW1

■ Tonality-wise, it is similar to KW1 in which both sets have a U-shaped sound. CHANGLE has a less warmer and somehow cleaner sound as it has tighter bass response with just ample textured midrange and a tad brighter treble response. Technicalies-wise, they are quite similar with the exception that CHANGLE has slightly better resolution capabilities particularly on micro-dynamics.


As I concluded my review on KB Ear KW1, KB Ear takes a different road map for their budget range as they are aware some of their competitors always have similar driver configuration at cheap plastic shells and offer it at dirt cheap pricing. It is quite unusual to see an earphone in a wood chassis and Its should be noted that Rosewoods were also used on some headphones and enclosure panels of loudspeakers.

As for their BT5, it is quite functional and easy to operate. As it didn't have a support for more advanced bluetooth audio codecs, BT5 can still deliver a sufficient sound output, with almost no interruption and quite clear sound due to its latest Bluetooth version.


Both KB Ear KW1 and KB Ear BT5 are now available on KEEPHIFI, Check the link below if you are interested.


★★KB KW1 - KEEPHIFI★★

★★KB BT5 - KEEPHIFI★★




SPECIFICATION:

MODEL: KB EAR KW1
IMPEDANCE: 16Ω
SENSITIVITY: 105dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: -N.A.-
PLUG TYPE: 3.5mm, Type- C
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 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 send my gratitude to KEEPHIFI for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

Avian migration is one of nature's wonderful phenomena as some species of migratory birds are doing some long distance flyway by following some specific travel path either in regular and irregular patterns due to seasonal changes as it is also their indicator for breeding and finding new feeding grounds. The scene of flocks of divine birds that are heeding the call of Fenghuang, the divine nine-headed Phoenix is quite astonishing to visualise on how these birds were doing while they are migrating towards the deep forests of southern mountains. This scene was inscribed in The Classic of Mountains and Seas which was an ancient Chinese myth composed of 18 sections which was allegedly written around the early Han dynasty era.


This is actually my third review on a Celest Audio product, I already introduced the Celest Audio from my previous reviews as they are known to be Kinera and QoA's sister company. Celest Audio takes some inspiration from Chinese mythology as their thematic concept of their products.



Celest Phoenixcall is their latest product as they try to enter the hybrid driver configuration segment. Its transducers consist of three types of drivers; dynamic drivers, balanced armature driver and a newer type of driver, flat panel drivers that simulates the capabilities of a planar without needing more power.



Here's the breakdown on how drivers were implemented. The new generation 7mm dynamic driver will solely handle the low frequencies, the two balanced armature drivers (probably a new generation of Bellsings) handles the midrange up to some parts of the treble region and then a dual flat panel drivers for the ultra-high frequencies. The said configuration of three types of drivers will produce a very potent bass, tonally accurate midrange and then, a smooth and cleae treble response to give an overall natural yet bright sound. These drivers are also connected to acoustic tubes for better passive frequency response.



The drivers are encapsulated in a high quality acrylic resin and it takes a modified UIEM-style shape as its form factor. It has beautifully crafted faceplates with a design of flock of birds on the horizon. It uses a proven 0.78mm 2-pin connector for its detachable mechanism just like all Celest and Kinera products.



Celest also included a good quality cable as its stock part. This cable is an 8-core, 5N silver-plated copper with a metal alloy on its plug jacket with 3.5mm SE termination plug. It's bright colourway seems to match the colours of the shells.



Celest Phoenixcall is quite comfortable to wear into my lugholes as I didn't experience any discomfort issues as it also seals and isolates well from outside noises. I can even use it for long listening sessions.



Like its sister Kinera, Celest Phoenixcall has a remarkable product presentation as it is one of these brands strongest assets. The included accessories were well-organised and some of them are compartmentalised inside the packaging box. The physical packaging box are incredibly gorgeous as it purple-coloured accent is really an eye catcher that could be a good display centrepiece.



Here are the following accessories inside:

■ a pair of Celest Phoenixcall IEM.

■ 8-core stock cable.

■ a circular shape, PU-leather zippered storage case.

■ Three (3) pairs of Celest vocal ear tips in different standard sizes.

■ Three (3) pairs of Celest balanced ear tips in different standard sizes.

■ Metal alloy bookmark/pendant with Fenghuang design.

■ Paperwork like instruction manual and a pamphlet about the product.



Despite the multi-driver layout of the Phoenixcall, this set is actually so easy to amplify that even a smartphone or tablet can give a sufficient power output for fuller and lively sound.



Celest Phoenixcall has a V-shaped sound signature with ample warmth on its tonality. It has elevated lows, a notch midrange and inflated highs.


(This graph was provided by @baskingshark, credits to him)




LOWS/BASS:

Even with elevation on the low frequencies, I don't still consider it as a basshead's preferred bass quantity. It has a very tactile, incisive and thumpy bass response which I consider it as satisfying in my cup of tea. It appears that it is more focused on mid-bass rather than sub-bass as it gives more texture and emphasis on certain bass instruments like viola, bass guitars, bass trumpets and bass kick drums. It also gives some darker pitch on bass-baritone vocals. It also important to share that it has a slight bass smearing across the midrange frequency.

Sub-bass presence is somehow decent as I fairly feel those faint rumbling coming from instruments like synthesisers, octabasses and drum machines. On the mid-bass part, it gives a firmer resolution on some instruments and vocals. Violas have full and rounded sound while bass guitars have earthy and rasping sound from them, and then on bass trumpets have a fuller and somewhat a "chocolate-y" timbre. Then on bass kick drums, it has a menacing and thudding sound for I also tested some extreme metal tracks with insanely fast double bass kicks. On bass-baritones, it has an adequate depth just to give that dusky and dark tone nature of these particular vocals but I feel that it needs more heft and depth to project it in a natural way.


MIDRANGE:

The initial impression when I'm listening to this set, I instantly noticed the recess presentation of its midrange as some instruments and vocals are a bit behind on the audio mix. But due to a tad bass bleeding from the low frequencies, it added some inherent warmth to affect the timbre of some vocals, especially on male vocals like baritones and tenors, female vocals like contralto and low register mezzo-sopranos, and other instruments like strings and brasses.

On male vocals, baritones have a warm and lush tone from them, especially from Eddie Vedder, Rob Halford and Jimi Hendrix, while a steeler and richer tone of a Kavilierbariton vocal like Dmitri Hvorostovsky. Tenors have brassy and ringing ambient from their vocals as l listen to the great three tenors (Pavarotti. Carreras, Domingo). Same with other tenors in modern music genres like Little Richard, Prince and Freddie Mercury. Countertenors have a rather agile and smooth vocal quality. On female vocal types, Contraltos have a sufficient rich but I observe that it has a lack in both dark and deep as they sound a bit lean as I'm particularly familiar with the vocal tone and texture of singers in this vocal category with the likes of Annie Lennox, Anggun and Toni Braxton. Mezzo-sopranos have a velvety and smooth but they have this transparent and hollowness that I noticed it gives less dynamic and engaging sound from the singers like Andrea Corr, Alanis Morisette, Sharon Den Adel and even operatic types like Cecilia Bartoli and Elena Obraztsova. Sopranos somehow fares better on this one as it is very flexible to all soprano types from dramatic to coloratura as they sound pretty energetic and spacious to have that gleaming and silky tone.

On instruments, especially on strings like acoustic guitars, violins and even harp. Guitars have a rather "buttery" tone and lots of overtone which doesn't give that crisp and lingering bright tone that a guitar should sound like as I listen to Scorpion's guitarists, Rudolf Schencker and Matthias Jabs on their respective guitar lines on their seminal tracks like "When The Smoke Is Going Down and "Still Loving You. Violins seem to have a warmer and austere sound as I prefer lively and vibrant sounding ones. Then on the harps, they sound mellow and blurring at the same time. Brass instruments sound quite excellent as trumpets sound full and brilliant, while horns have a warm and velvety sound then on trombones have this intensity and powerful tone. Percussive instruments with the likes of toms, field drums, marimbas and snares, toms have its punchiness and resonant sound, then on field drums, thet have these warm and sombre sound while marimbas have velvety although a bit hollow sounding, and then on snare drums, it has hard and rustling sound from them. On woodwinds, instruments like flutes, saxophones and clarinets, a wafting and mellow tone on the flutes while saxophones and clarinets have these melancholic and soft sounds from them even on different registers. Then on chordophones like pianos, they have a warmer to balanced tone from it.


HIGHS/TREBLE:

The treble response of Phoenixcall is definitely on a brighter side. It has some emphasis and observable boost at the upper midrange to give a definition on percussive attacks and vocal emphasis albeit there are some instances that it might be a little bit discordant and a tad shrilly to the point fatiguing to some treble-sensitives folk. It has a capable presence treble that is able to project some sense of clarity and crispness.

Cymbals have a good amount of glistening and resonant sound of itnwhile the hi-hats have that life-like sound reproduction as they have those those shortened buzzing sound. And Celestas have mellow to bell-like tone from them. It has an ample amount of sparkle and a moderate brilliance airy extension.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

As I estimate its overall sound field dimensions, it has average to above average lateral size while it has a good height reach and depth that gives me a reasonable moderate spatial headroom within my aural sphere.

On imaging projection, it presents me a concave-like, stereo panning as I was able pinpoint the exact location of instruments and vocals with noticeable gaps and spacing and and fairly decent layering as I noticed some layers of instruments tonal dynamics within its sonic canvas.

Cohesiveness of multi-drivers set-up appears to perform pretty well as it micro dynamic driver able to deliver a faster transient response while the other drivers performs pretty well too as it manages to give a tonal detail and harmonics.

It has a competent resolution capabilities as it has quite solid fundamental on notation attacks on macro-dynamics with decently good micro-detail retrieval on how it contrasts the perceived noises from other dynamics to extract some details and nuances from an audio track.



PEER COMPARISONS:

HIDIZS MS3

● This is hybrid driver IEM in a very competitive pricing just like the Phoenixcall. While it takes a more convention hybrid configuration as it has typical 1 dynamic driver and dual balanced armature drivers but it uses a more premium balanced armature drivers which is Knowles and all metal construction for better durabilty. Both have excellent product packaging and quality and quantity amount of inclusions but MS3 take a more utilitarian approach in its overall product presentation.

● As for tonality, MS3 is more versatile due to its detachable nozzles system that you can choose a certain type of sonic profiles from V-shaped to a bright U-shaped. In general it has a more robust and solid bass response, a more natural and tonally correct midrange and a brighter and airier treble (silver filter). Both have similar technical performance but MS3 edges a bit on resolution capabilities.


KIWIEARS QUARTET

● Another comparable set to the Phoenixcall, it has typical hybrid driver set-up as it has dual dynamic driver and dual balanced armature drivers of similar design (I speculate that both BAs of these sets are of Bellsing). But the difference is that it has a tuning switches which I will elaborate it later. Both have similar materials on their shell chassis but QUARTET takes a more traditional UIEM form factor. It also has fairly good product presentation but its stock cable is somewhat a less premium one compare to Phoenixcall's cable.

● As for tonality, despite of its tuning switches, it still has a warmer U-shaped sound signature. It has a more authoritative bass response but an untidy one, too warm midrange that affects the tonal qualities of some vocals and instruments and then, a darker and dull treble response with meagre treble air and sparkle. As for technicalities, it has inferior sound/speaker stage sizes, poor layering capabilities and blunted note definition on micro-details.



This is definitely an innovative approach from Celest Audio as they try to implement new technologies from the advances to technological innovation in portable audio industry and it looks that they aren't afraid to take a risk that they are venture out from their bubble. They want to prove that you can have a tri-brid set-up IEM with impressive product packaging and good quality inclusions at reasonable price.

Despite of some minor issues like inaccuracies on the tonal aspects on instruments and vocals as it sounds either too much and in sparse quality, its competent technical performance will be its leverage and counterweight of those some tonal insufficiencies that the Phoenixcall have. If you want a fun, engaging and relatable sound with gorgeous shells that you can proudly display it, then this is it.


Celest Phoenixcall is now available at HIFIGO, you can check out the provided unaffiliated link down below:

★★CELEST PHOENIXCALL - HIFIGO★★


And also, here's my review on other Celest products:


● CELEST GUMIHO

● CELEST PANDAMON

SPECIFICATION:

MODEL: CELEST PHOENIXCALL
IMPEDANCE: 32Ω
SENSITIVITY: 103dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: 2-PIN CONNECTOR (0.78mm)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (2) BALANCED ARMATURE DRIVERS + (2) FLAT PANEL 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*
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 CELEST 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 LVY YAN of HIFIGO for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

Dynamic drivers are a type of transducers that are quite common as they are easily available in the supply. Its function was to simply convert the electrical signals into sound waves via voice coils that are suspended between the points of a magnet then react to the diaphragm to disperse the air pressure. It is given that it produces a deeper bass response but will not give you the best full range sound that a dual and hybrid can achieve.


Oi! mates and fellow audio enthusiasts out there, It's been awhile since I did a review on a CCA (Clear Concept Audio) product. So finally, I got one and this time it's their latest offering on the entry-level segment.


Well, I'll be straight on this one. One of the reps of CCA/KZ actually asked me if I'm still available to do a product review on their latest offering. To be honest, I'm quite sceptical on the performance of most dual dynamic drivers IEM in both tonal and technical aspects given that I did some reviews of these IEMs with similar driver set-up and mostly, I find it insufficient and quite unimpressed due to inadequacies of their technical performance. But due to my curious nature, I'll give it a chance.



This is CCA DUO, this is CCA's first attempt at implementing dual dynamic drivers on their products. Dual dynamic drivers became a norm and popular set-up in under £78/US$100 as dynamic drivers are easily available in the supply market and easy to manufacture too. CCA DUO employs a two new generation of micro dynamic drivers (probably modified XUN ones), they both have a 7mm in dual-clambered structure. The said set-up will give a richer, more dynamic and even a noticeable improvement of its resolution proficiency. It appears that these drivers are also connected with acoustic tubes to provide seamless sound waves towards the end of a nozzle.



These drivers are encapsulated in a shell chassis made of composite materials. The faceplates are made of aluminium alloy with a sort of misshapen sleek curve pattern which give a futuristic look and its cavity base is made of high quality acrylic resin moulded via 3D-printing process. Like all CCA products, it still uses a QDC-type of 2-pin connector as its detachable mechanism. It is also noted that it uses memory foam ear tips as its stock ear tips set-up.



Regarding its fitting and comfort, CCA DUO did a good job on designing its overall shell outline as its contours fit well into my lugholes without any discomfort or wear fatigue. It gives me a decent noise isolation as it is able to block some external noises coming from the outside surroundings. But here are some of my advice, try to find a better ear tips, if you are not comfortable memory foam ear tips and using its stock silicone ear tips wont deliver the same sonic performance as they sound a bit unrefined, that's why look for proper ear tips that simulates the sound quality from its stock memory foam ear tips set-up.



Like all CCA and KZ products, when it comes to product packaging, CCA DUO's product box are rather bare bones and economical as they try to reduce its price as much as possible to be reasonably cheap to purchase.



Here are following contents inside of its packaging box:

■ a pair of CCA DUO.

■ a 2-core SPC in 3.5mm SE termination plug stock cable.

■ a pair of memory foam ear tips.

■ Three(3) pairs of black coloured narrow bore ear tips in different standard sizes.

■ Instruction manual.



CCA DUO is definitely easy to drive as it only needs a decent amount of power output from its sources. It can be amplified from devices like smartphones and tablets with some decent volume level and it can deliver a very dynamic and full range sound that we expect for.



As for its tonality, CCA DUO has this mild-U shaped sound profile which is leaning towards more of a bright tuning. It has some noticeable emphasis on lows, a neutral and linear midrange and an elevated high frequency. It seems that CCA properly optimised the dual dynamic driver set-up for specific frequency ranges.




LOWS/BASS

Even the bass frequency sounds elevated, it doesn't qualify to be a basshead's bass quantity that might perceive them as too lean sounding but it has some quality that will suit its tuning orientation. It has a tight to punchy, precise and clean bass response that some other dual dynamic drivers are hardly able to achieve . I felt those grumbling and reverberations from sub-bass focus instruments like low-toned bass guitars, octabasses and synthesisers.

Midbass has an ample texture on its note weight to have a more balanced sound on bass guitars, bass kick drums and bass-baritone vocals. Bass guitars have that rasping and resonant sound to give that particular roar while bass kick drums also have that resonant sound but with a thudding sound too as I clearly hear those fast double bass pedals from extreme metal tracks. On bass-baritone vocals, it has a sufficient deep and texture to give dark and ample density on its tone.



MIDRANGE:

For dual dynamic driver set-up, it is probably the one of cleanest midrange presentations that I heard in this particular driver configuration so far. It sounds transparent, neutral, bright and brimming with energy that it will benefit more on female vocals, woodwinds and even string instruments while male vocals and brass instruments will sound a tad less engaging and less telling in my opinion.

Baritones and contraltos seems to have a sufficient lushness, smooth intonation and decent rich tone from them but they have less darker pitch. Tenors have a reasonable brassiness and spiciness sound from them as I listen on either modern pop and rock or classical operatic artists. Mezzo-sopranos and countertenors have an agile, coppery and tender sound as I listen to Cecilia Bartoli, Andrea Corr and Stevie Nicks (Fleetwood Mac era). Last but not least, soprano vocals, this type of voice will sounds better on the DUO whether it's a dramatic type, soubrette, lyric and even coloratura ones that this set will execute almost flawlessly. Its tone really captivates me as they have a gleaming and silvery sound that a soprano vocal qualities should possess.

As for instruments, when it comes to strings, it gives more crisp, bright and lingering tone on guitars then a vibrant and sustaining sound on the violins. Woodwinds like concert flutes have a bright and penetrating tone while picollos have intense and bright sound then on saxophones and clarinets, they have a reedy, incisive and menacing sound from them. Brass like trumpets and horns have brilliant and vivid sound while trombones have less warm and tad soft sounding in my preference. Percussives like toms and field drums have hard and sonorous sound while snares have sharp and bright tone.Timpanis have that dry sounding and marimbas have these hollow and resonant sound. Pianos seems to have brighter tone as they sound crisp and brilliant but there are some instances of being tinny sound (depends on ear tips you used especially on silicone ear tips).



HIGHS/TREBLE:

As I mentioned before that the treble response of DUO is somehow depends on what particular ear tips we are using. Memory foam ear tips gives a tad smoother and less offensive treble quality but on the stock silicone ear tips, it gives a tad brighter and shrilly response but it has better airy extension. Upper mids appears to have some boosts as it gives a definition on vocals and percussive and rhythmic instrument attacks while it has a good clarity (for a micro dynamic driver) on the presence part of the treble region. It is also noted that on stock silicone ear tips, it has some occassional sibilance and a tad sharpness but on other ear tips from third party like TANGZU SanCai it lessened it to the point I consider it as well-controlled.

The cymbals sounds crisp, brilliant with good amount of sizzle while the hi-hats have that shortened buzzing sound to give that distinctive chick sound. Then on glockenspiels, it has brilliant, metallic and striking tone from them. For a dual dynamic driver set, it has a good amount air and remakable sparkle that a new generation of micro dynamic driver was able to deliver it impressively give the supposedly limitations of these type of drivers.



SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Based on my observation on how I perceived its sound/speaker dimensions of CCA DUO, they have a rather moderate size within my head room as it has fairly average width span but it was a good height reach and excellent depth.

As for imaging, it seems to have a typical two-channel stereo presentation where I was able to position of instruments and vocals within its stereo spatial field with good coherency to point it out. It also has good separation and layering as it has a good spacing between each instruments and vocals while its tonal and frequency layers are decently arranged and properly stack on its sonic canvas that really impressed me that these dual or triple dynamic driver set-up that really surprises me so far. It can manage to handle some complex tracks like Jazz ensemble and multi-instrumental musical movie scores but on a full symphonic orchestras, it really shows the limitation of drivers on handling these tracks but for now only few sets like this set can decently do a playback on it.

The cohesive performance of both dual driver are quite capable to deliver a faster transient response while it able to project a clarity and detail from it. It has a capable resolution capabilities as it has a solid and well-defined macro-dynamics as it able to execute a good notation attacks while it has a excellent detail retrieval (for a micro dynamic driver) as it able to retrieve some nuances and note subtleties from audio tracks.



PEER COMPARISONS:


QKZ X HBB KHAN

● A clash between competitors, KHAN's
other dynamic driver has larger size as it uses a 10mm in tandem with other 7mm dynamic driver. Like the DUO it also has composite materials of its shell chassis but its overall design aesthetics are unoriginal as I saw it to other sets with almost identical form factor. As for product packaging, KHAN fares better as it has more inclusions and better product presentation although it is bit pricey.

● Compare to DUO, KHAN's tuning has a more coloured tonality as it has more V-shape sound and more warmer sounding compare to the DUO. It has a more boomy and authoritative bass response albeit it has has a sullied midrange and less bright and more relaxed treble to its sounds a tad veiled and low resolution sounding in my opinion. There's nothing to say about its technical capabilities as it was too average and nothing to stand out on it as they are incomparable with DUO.



TRIPOWIN KAILUA

● Another dual dynamic driver configuration set that will be compared to the DUO. While it has larger 10mm but it is tandem with smaller supporting 6mm driver. Unlike the DUO, its shell chassis are made of solid aluminum alloy but the fitting and comfort is rather challenging but the TFZ/NX7 type connector is more solid and sturdy than QDC-style connector. Product packaging of this set is pretty basic but at least it has an included IEM storage bag.

● Regarding its tonality, KAILUA has a warmer, v-shaped sound signature that makes it more coloured sounding compared to the almost neutral sounding DUO. It has more dominant bass, warmer vocals which are quite good for male vocals and some female vocals too like contralto and dramatic mezzo-sopranos. It has a more smoother and relaxed treble response but it has a rather meagre sparkle and airy extension. As for technicalities, it is quite inferior compared to the DUO in almost all aspect from sound/speaker stage up to the resolution capability.


As I end my review on CCA DUO, this is actually a very surprising moment given my qualms and uncertainties on IEMs with dual dynamic driver configuration. CCA DUO somehow proves me wrong that a properly implemented dual driver configuration will show its true potential and on how it will render the best effective method to deliver such fine sound quality.


CCA DUO will probably became my standard reference on the entry-level dual dynamic driver IEMs for incoming products with similar driver configuration. And if you want an almost neutral sounding set that sounds clean, detail and emanates clarity on resolution in under £28/US$35, then this is definitely a good recommendation.


CCA DUO is now available at KZ Official Store, it also available at LINSOUL too. Check out the provided unaffiliated links down below.


★★CCA DUO - OFFICIAL★★

★★CCA DUO - LINSOUL★★



Also checkout my reviews on other CCA products:


◆ CCA CRA

◆ CCA CA16 PRO

◆ CCA LYRA

◆ CCA CA10

◆ CCA HM20

SPECIFICATION:

MODEL: CCA DUO
IMPEDANCE: 18Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 20Hz – 40KHz
CABLE LENGTH: 1.2M
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR (0.75MM)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (2) 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 CCA 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 TYVAN LAM of KZ/CCA for providing this review unit. I truly appreciate his generosity and trust towards me and other reviewers.

Jojo's Bizarre Adventure is a Japanese manga series created by Araki Hirohiko and it is said that it was heavily inspired from another manga series, Hokuto No Ken also known as Fist of the North Star. It's an action-adventure genre and it has some elements like some characters have unusual pose, having some unique perspective scenes and some choices of gaudy colour schemes that makes them somewhat appealing and became a butt of a meme in the internet.


It seems that it is somehow connected or where they got the inspiration for today's product that I'll do a review right now. This is BLON x Z JOJO, it is one of the BLON's products that was part of a collaboration project. I did a review before on a BLON product and it is also a collaboration project product with another well-known audio reviewer on YouTube.



This one is also another collaboration project with another YouTube audio reviewer, Zeos Pantera also known as Z Reviews. It seems that the BLON JOJO is somewhat a variant of BLON BL05 that was released 3 years ago and it is said that BLON made some modifications just to suit Zeos' preferred tuning choice.



BLON JOJO has a single 10mm dynamic driver on each channel whose diaphragms are made of composite materials to deliver a very responsive and can yield a higher sonic output with a very minimal amount of distortion. The drivers were enclosed in a zinc alloy shell chassis in an elliptical shape with a piece of gold-plated sheet in the form of a key. I actually admire the design and aesthetics of BLON JOJO but the choice of colour they choose, which is a lavender magenta, is somewhat too garish and gaudy in my taste.



The fitting of this one is rather a challenging one as it takes some few minutes just to look for proper ear tips for this set that is suitable for my lugholes just to have good sealing and noise isolation as some of them are quite loose and wobbling. So far, I found one among some stock tips included in the box.



It appears that BLON includes a good quality stock cable which is quite sturdy and thick (I'm such an admirer of sturdy and beefy cables). It has a four-core, OFC silver-plated aluminium and copper wiring strands with PVC insulations and it has a 3.5mm termination plug. As for its interlocking mechanism, It uses a 0.78mm TFZ/NX7-type 2-pin which is rather unusual in my opinion.



The BLON JOJO has a rather spartan product packaging as it uses a more compact, rectangular box. Although, it has a modest amount of inclusions that we can find inside.



Here are the following contents:

■ a pair of BLON JOJO IEMs

■ Stock cable in a 3.5mm termination plug.

■ 8 pairs of ear tips of different standard sizes.

■ a sackcloth IEM pouch.

■ Some paperwork like Q.C. stub and instruction manual.



BLON JOJO is actually an easy to drive set. With a standard impedance grade and high sensitive rating, it will be able to be amplified from sources with decent power output like smartphones and tablets. It can actually scales even better on devices with more powerful DAC/Amps to have an even more dynamic sound.



As for its tonality, JOJO has a typical tuning that uber-basshead and casual listeners will be pleased with, a V-shaped sound signature that is warm and textured. It has a dominant low frequency, midrange and an emphasis on highs.




LOWS/BASS:

Certainly that it has a vigorous bass presentation as I mentioned a while ago that this is the most dominant frequency part of the Jojo. Boomy, resonating and muddled to the point that sucks out some energy from the midrange and even treble response.

It has a very expounding sub-bass that I was able to feel its rumbling and growl from instruments such as synthesisers, drum machines and low toned bass guitar lines. On the mid-bass, it appears to have very dense note weight to the point that it smudges across the midrange. Bass guitars have a broad and heavy sound while bass kick drums have a boomy, hard and full sound. Then on bass-baritone vocals have a guttural characterictic to give that dense and dark tone. But my main concern and issue on the bass quality of Jojo that vocals and bass instruments are somewhat melded together to the point that they are tangled and sounds really messy in my opinion.


MIDRANGE:

The midrange presentation of this one is definitive recessed but to the bass smearing it really gives a warmer sound on vocal and instruments. That added warmth will be a perk and advantageous to male vocals and some percussive and brass instruments but they sound a bit overemphasise.

Baritones and contraltos have too warm, excessive heavy and husky tone from their vocal qualities as I listen to Scott Weidland, Dmitri Hvorostovsky, Annie Lennox and Anggun. On tenor vocals, this set is quite picky on a particular type of tenor as it prefers more on baritenors, heldentenors and some dramatic types which have bolder and weighty sound as it lacks the spiciness and dazzling sound that I really want. Same with countertenors, mezzo-sopranos and sopranos as Jojo won't be able to deliver that emotive and expressive sound as they are quite lacking on being fiery, radiance and gleaming tone.

On instruments, string ones like guitars and violins as it sounds too warm and buttery on the former while a too mellow and calm sounding on the latter instrument. Woodwinds have this lack of airiness and brilliance that concert flutes, saxophones and clarinets seem that are tuned constantly on the low register notes that they sound dull, hollow and too mellow. Meanwhile on brass instruments like trumpets, horns and tubas, they sound a bit fuller, mellow and somehow in most cases, too muffled and veiled sounding. On percussive instruments, toms have a warmer and resonant sound from them while snares have that boomy and muffled sound as it doesn't have that cracking and precise characteristics that I want. As for pianos, they sound more on a warmer and lusher tone that is detrimental to the higher note registers.


HIGHS/TREBLE:

I thought that on first impression that it sounds too dark in my liking but finding the right ear tips for this set will be able to improve its treble response a bit. It seems that too smooth and relaxed flow on its high frequencies might not give that crisp, shimmer and detailed treble quality despite some elevation on upper mids that it sounds a bit dull and gives a lethargic attack phase of instruments especially percussions and unclear vocals. Presence treble seems to have that distant sound due to a perceived lack of clarity.

Cymbals strikes here on JOJO seem to have a lack of shimmer and sizzle as they sound too dull, dry and dark. Glockenspiels appear to have tone deficiencies on it as they don't sound brilliant and shimmering. Though hi-hats are able to have the shortened buzzing sound that we are accustomed with. Don't expect air and sparkle on this set as it only delivers a modest and a meagre one.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

As for sound/speaker stage dimensions, they have a rather narrow to average width span, an average height ceiling and above average depth that gives me that feeling of having congested headroom within my spatial chamber.

It has a typical two-dimensional stereo presentation as I was able to locate the positioning of instruments and vocals but it is rather blurry and ill-defined as I'm struggling to point out the exact placement. Separation and layering is poorly-executed as it doesn't have a gap and spacing on specific tonal elements while layering is so compacted and woolly that it will be problematic to more complex multi-instrumental tracks.

Coherency of its single dynamic driver seems to have decent performance but the way how it tunes does affect the transients and decay performance on it.

On resolution capability-wise, it focuses more on macro-dynamics than micro-detail retrieval. It has a broader note weight to give that slam and punch on volume but the micro-detail aspect, it seems that it has blunted, too-rounded and blurry on its definition as it doesn't have clarity and sharpness to extract some nuances and details of information from audio tracks.



PEER COMPARISONS:

BLON Z300

● Like its sister, Z300 is a single dynamic driver and also a collaboration with another YouTube reviewer with similar calibre. It has a 10mm dynamic with silicone diaphragms and both have employed a TFZ/NX7-type of connector like all BLON sets. Product packaging and inclusions are almost similar as both sets have good quality cable.

● Z300 has similar tuning with JOJO as both have V-shaped sound signatures. But compared to JOJO, Z300 has a tad less boomy bass and has a similar midrange quality but on treble response, it seems that Z300 appears to have that it has more relaxed and even meagre on treble air. On the technical aspects, they are almost alike with the exception that Z300 seems a tad better on resolution capability.


KIWI EARS CADENZA

● While it has single dynamic driver like JOJO, CADENZA has a different build on its shell as it is made of medical grade resin which makes it lighter and it offers superior fitting due to its UIEM form factor. While JOJO has a better stock cable, CADENZA has better overall product presentation.

● CADENZA has more "mature" sound signature as it has mild U-shaped signature as it approach a neutral tuning. It has less punchy and tighter bass response, more neutral, transparent and cleaner midrange, then more shimmering and airy treble response. On technical capabilities, CADENZA is no doubt has more superior and better technical performance any category compare to JOJO from sound/speaker up to resolution aptness.


QOA GIMLET

● Both GIMLET and JOJO have similar build material as they have a metal alloy chassis but Gimlet has more capable single DD driver which is an LCP diaphragm. And on product packaging, GIMLET has better quality of inclusions and product presentation but JOJO has better stock cable but GIMLET's isnt that far as it also has good quality cable.

● GIMLET has a warmer mild U-shaped sound signature but compare to JOJO, it is better tuned and somewhat a more refine sounding. It has a punchy bass response, more forward vocals, more natural sounding and better textured midrange, and somehow a finer treble response as it has a sufficient clarity, detail and air. Technicalities-wise, GIMLET is overall a better set from wider sound/speaker stage and better resolution capabilities.


It looks like BLON JOJO still follows an archetypical BLON product profile, a solid all-metal shell structure and a warm V-shaped sound profile that is fun, engaging and likeable sound that will be pleasant to listen and caters towards more on casual listeners. This is definitely not a technically competent set as it doesn't have those characteristics but it depends on the choices of listeners, Either do they want a more capable high fidelity and technical sounding set or just simply to have an enjoyable and pleasant sound quality that technicalities won't really matter?

To be honest, this is my least favourite type of tuning as it won't be able to deliver the sound quality that I really desire as its bass response is too excessive and over elaborate in my opinion. To think that this type of tuning reminds me of some old Beats By Dre, Sol Republic and even my Skullcandy Can that I just simply enjoyed in the mid-2000s up to early 2010s. So in context, BLON JOJO will probably be my most likeable set if I am still in my 20s.

BLON JOJO is now available at LINSOUL, check out the unaffiliated link down below.

★★BLON JOJO - LINSOUL★★

Also, please check out my previous reviews on other BLON products:

● BLON Z200
● BLON Z300


SPECIFICATION:

MODEL: BLON X Z JOJO
IMPEDANCE: 32Ω
SENSITIVITY: 106dB
FREQUENCY RESPONSE: 20Hz – 20KHz
CABLE LENGTH: 1.2M
PIN TYPE: TFZ/NX7-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 BLON 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 KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

"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.