Reviews by Ceeluh7
Rose Technics Star City 5 Pro
Rose Technics Star City 5 Pro
Intro
Hello, this is my full written review for the “Rose Technics Star City 5 Pro” or SC5P, as I’ll refer to it for review purposes. The SC5P is the latest Hybrid iem from the audio brand “Rose Technics” and one I am happy to report on today. The SC5P is actually part of Rose Technics’ “Light Year” series of iems. Folks, I have done a few reviews by now from the brand “Rose Technics” and I have yet to hear a set that isn’t tuned very well to the intended target. I’ve reviewed and greatly enjoyed the Rose Technics QT9 Mk2s (Mk2s Review), Rose Technics QuietSea (QuietSea Review), and the exceptional Rose Technics QT9 Mk3 (QT9 MK3 Review). So,as you have probably guessed, I have some high hopes for the Star City 5 Pro (SC5P). Real quick, the SC5P is a three-driver hybrid iem consisting of one dynamic driver and two balanced armature drivers and costs roughly about $130 on the Rose Technics website but you can get this set for a ridiculously low $65 on Aliexpress right now. If you haven’t done the math, that’s HALF-OFF! Nothing beats a good rollout deal folks! Anyways, I thank Rose Technics for providing me a discounted price so that I may review and feature the SC5P at Mobileaudiophile.com.Rose Technics
The brand Rose Technics has quietly and irrevocably stolen my heart and so please be aware of this bias as I ramble on for another extremely long review. Of course, I will explain exactly what I hear, biases or not. Rose Technics is a brand that never has to force their greatness on anyone. Never flashy or pompous. Rose Technics doesn’t flaunt their products or boast about them in endless ads. Ya know what, I relate them to my favorite NFL player ever… Barry Sanders. One thing unique about Barry is that he never, ever, celebrated scoring a touchdown. He simply handed the ball to the ref. Like my father always told me… “Son, act like you’ve been there”. How does this relate to Rose Technics? Because Rose Technics is very much similar. They make great products that quietly and without fanfare or celebration are… quite fantastic. Basically, they let others tell them how great they are. Another thing my father used to tell me. Now, there are always issues with everything and certainly a set like the SC5P has some issues of its own. However, those issues look like minor gripes against the backstop of all they do well.Let’s get into it…
I write these initial intros usually after my first listen or prior and so I really don’t have a great gauge on this set yet, so we will discover the SC5P together. This is a set that has a lot going for it and one that I feel will likely fall under the radar as a lot of Rose Technics iems seem to do. I suppose only time will tell. That said, I’m ready to get this review going, time to critically listen, write a bunch of notes and spend a few good weeks with this set. Let’s get into it, the Rose Technics Star City 5 Pro…Non-Affiliated Purchasing links
–Aliexpress ($65 sales price NOW)–rosetechnics.com
–Lazada
Disclaimer:
I received the Rose Technics Star City 5 Pro from Rose Technics with a percentage off the actual price in exchange for a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a paid sample iem. Rose Technics has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to Rose Technics and thanks for reading.Full Review HERE
Full Review HERE
Gear used for testing
–Ifi Go Blu–EPZ TP50
–Aful SnowyNight
–Fiio Q15
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
One thing you can count on with Rose Technics is that they will provide a very nice unboxing experience for the money. I have yet to receive one of their sets and not be impressed. When the SC5P arrived at my door it came in a good-sized box. The box sleeve had a picture of the Star City 5 Pro adorning the front. It’s a nice-looking 1st impression. I won’t go too deep on this as you can just look at my pictures. Taking the sleeve I was met with a nice black box with “Light Year” across the middle and it has a magnetic flap keeping it closed. Once opened you are met with the gorgeous faceplates of the SC5P on one half and the circular case on the other. Both are sitting nicely in soft foam cutouts. Underneath that layer are some of the eartips. Inside the case you’ll find the cable, more eartips and a small dongle dac as well. Folks, it is a very nice unboxing. I realize I just run right through this section quickly, but I can assure you that it is better than most sets.
Eartips
Rose Technics offers two different sets of eartips in the packaging. Both are of obvious good quality and will be useful to any hobbyist. They provide four sets (S, M, L, XL) of some white silicone shallow fit wide bore tips. These tips have a semi firm flange and a firmer stem. The next kind of tips provided is three sets of white silicone narrow bore tips (S, M, L). These tips are also semi firm at the flange, deeper fit, more rigid all together. I really don’t mind the included tips as I got both sets to seal with relative ease. However, I much prefer to use my go-to KBear 07 tips in a large size. The 07’s added a cleaner and punchier bass and improved the upper midrange to a slight degree as well. Certainly, the included tips are perfectly fine and may suit you perfectly.
Carrying Case
I really like this case friends. It is an all-black hockey Puck shaped case that is very premium looking. I’m assuming that it’s faux leather but it’s very hard to tell by sight and by feel. I love the “Light Year” logo written in the middle and the slick looking stitching which goes all the way around the case. This is the type of case which simply pushes closed and remains very well sealed to protect your precious iems. I feel there is just enough room to carry the Star City 5 Pro as well as the included dongle dac. Now, I rarely use carrying cases and likely won’t use this one, but I really like the look. I love that Rose Technics sought to impress with everything. I could see this case with much more expensive sets. Who knows maybe I’ll use it, though I know many of you regularly carry your iems in cases. For those folks, you’ll be pleased. This is a nice one.
Cable
Okay, so I’ve loosely complained about the Rose Technics cable in past reviews. It is true that the Star City 5 Pro does come with the exact same cable as the more expensive iems, like the QT9 MK3. It’s actually a nice cable and goes very well with the SC5P aesthetically. Still, I don’t usually like most cloth lined cables though. However, the much less expensive Rose Technics QuietSea has an amazing cloth cable that is beefy and flat out sweet looking. I would’ve loved to have seen something like that. Just something a bit more premium looking. That said, this is actually a very talented wire as it’s an all-black mmcx 3.5 single ended 6N OCC copper cable that is said to be of fantastic quality in terms of its sound. I used the included cable for all 3.5 single ended listening and actually do think it is a high-quality cable. Maybe not my favorite but I’ll live. The mmcx connections are tight and feel durable and well made. However, I did swap cables for any balance listening, which is the majority of the time. I used one of my favorite cables ever, a FSIjiangyi 6N OCC cable that is simply stunning to look at and even better with the SC5P attached.
Build / Design / Internals / Fit
Build Quality
The Rose Technics Star City 5 Pro has a very solid and compact form factor that is made out of what appears to be resin on the shell as well as a couple different alloys for the faceplates and the mmcx female connector housing. Really a very nicely built iem that looks much more premium than it actually is. I suppose for the MSRP price ($130), the build is right at the standard of the price point, if not better. However, for the sales price ($65) there aren’t many iems which can stand next to the SC5P. The build is really flawless with perfectly sculpted parts meticulously put together. Using CNC precision cutting It has stainless steel faceplates, the mmcx female port is aluminum and the SC5P has a brass nozzle, while the shell is resin by way of 3D printing. I see one good sized vent with damper material below the mmcx connector and another longer vent on the back faceplate too as well as one very small vent on the mmcx housing. I think the build is very nice and I don’t think many could argue that.
Design
What a huge departure from the Rose Technics iems I’m used to as far as body style. Previous RT iems were very traditional. Always sleek and slick but also very minimalist in approach. In truth, I have always had an affinity for the look of their iems. Perhaps a bit vanilla for some people, but to me their designs have always set them apart. In a way. As far as the Star City 5 Pro, it is an elegant mix of style and function. Rose Technics did a nice job crafting a cool looking set. The colors are a mix of black on the shell to mirror silver on the faceplate and gold-plated nozzle. The faceplates have “Light Year” imposed on them in an elegant writing as well. It is simply a nice look. Very nice work.
Internals
Inside the SC5P we have a self-developed 10mm LCP dynamic driver which is said to be a Japanese composite LCP diaphragm. They used N52 magnets with high magnetic flux. I love that Rose Technics did the legwork and created their own. That’s a whole other level to their expertise. The SC5P also has a “customized” Danish imported dual balanced armature array. Again, not many specs available for casual searching. Also, I am assuming that Danish BAs are better. Is that true? I can tell you this, I hear no BA timbre and they have great control. Maybe there is something to these “Danish” moving irons. Everything seems of high quality. Higher volumes don’t turn my music into a mess of distortion, and they simply have the feeling of control.Dampers
Rose Technics also uses a four-way damping system as well which can be seen in the promotional images below. This is an arduous process and thankfully Rose Technics did the homework and implementation here. They use one damper behind the DD in the rear chamber, one in the nozzle, one pneumatic damper near the mmcx port and one just above the balanced armatures. Folks, I cannot imagine how long this must take for Rose Technics to get this set where they wanted it in sound quality. At any rate, in the promotional material the entire damping system will control air pressure for a more comfortable listen, no suction or driver flex. Furthermore, the dampers will reduce distortions etc.
Fit / Isolation
I have the SC5P in my ears as I type this, and I am very impressed with the fit. The shape and size really do help to create a perfect seal. Add to that the weight is very little which never causes fatigue for me. The only thing which may become an issue for some is the deeper fit of the nozzle. Nothing crazy but it is a bit deeper than average. One more thing concerning the fit, I have zero air pressure suction happening when putting these in my ears. Rose Technics did a wonderful job of balancing the pressure nicely. I have absolutely no idea how in the world this set is going to fit you so be aware. Of course, I would think you’d have zero issues like me. As far as isolation goes, I don’t feel that the SC5P lets in any more noise than any other set of in-ears minis a couple made squarely for stage purposes. So, about average. Now, Rose Technics states that the SC5P will provide up to 22 db’s of passive noise attenuation. I have no way of gaging this but… Seems bout’ right.
Drivability
The Rose Technics Star City 5 Pro is rated at an impedance of roughly 24 ohms and a sensitivity of 104 db’s. What does this mean you ask? It means that the SC5P is a pretty darn sensitive and easy to drive pair of earphones. I had zero issues bringing the SC5P to decent sound fidelity and volume even from my iPad. Using the Fiio UTWS5 I have zero issues as well. However, just because I can bring them to decent volume doesn’t mean we are maximizing the potential of this gem of an Earphone. No sir. The SC5P does want some power. I feel it takes a tad more to wake up those balanced armature drivers. I simply felt that when I added a higher gain on any dap or dongle dac etc. that the SC5P responded in a great way. So, this is most certainly a set you can drive from a lower power, but they also scale very well with more juice. I’m not talking about crazy juice either. Also, warmer source devices with a bit more low-end will obviously help the SC5P bass region to add some fullness and authority. let’s take a look. Mobile Listening
Using the IFi Go Blu was nice on either 3.5 or 4.4. The Go Blu (CS43131 dac) is a little powerhouse of a bluetooth dac/amp which comes across warm/neutral which did well to synergize with the sound of the SC5P. I also got lost in the sound of the EPZ EP50 (dual CS43198 dac chips) which is brand new to the market. It has a warm/neutral tonal color with a clean sound which really counters the SC5P nicely. However, out of my mobile pairings, none did better than the Aful SnowyNight (SnowyNight Review) which also uses dual CS43198 dac chips and a ton of output power. That little dongle dac is such a beast! I entered into high gain on 4.4 balanced and the synergy was effortless. I love this set with my mobile listening options. It’s actually a chameleon of sorts. I really didn’t hear anything outright bad and in fact, each source I used sounded pretty good but the SC5P sort-of mimicked the source I used.
Included dongle dac
By the way, I also used the dongle dac that is included in the packaging of the SC5P. Folks, it is actually pretty nice. It drives the SC5P just fine and gets relatively loud with good dynamics. If I didn’t have any other source, I’d be perfectly fine just using this dongle. I don’t know what the name is, what the dac chip is, or how much output it has but it sounds good.
A bit more juice
Moving onto my more powerful and more talented sources I found the best pairing I have with the Star City 5 Pro is when I attached them to the Fiio Q15. The Q15 has both the AK4191 and the AK4499EX dac chips which has a ridiculously resolving sound along with up to 1600 mw and five gain modes. I found high gain to be more than adequate. The resolution is wonderful, and the dynamic presence just oozes out. Just as good but slightly more velvet is my Shanling M6 Ultra (AK4493SEQ flagship dac). However, I did notice the sound was the slightest of hairs less energetic up top with this pair. The DX240 (ES9038 Pro dac) also added its own more neutral flair. Not quite as natural sounding but plenty of fun. My more powerful sources showed me was that the SC5P reacts well off of all source tonalities between them and will slightly alter its sound accordingly.
What you need
Honestly, at the very least you should try to acquire a simple dongle dac. Just get a decently powerful ($30 to $50) dongle dac (if possible) and you’ll be in business. This is not a hard set to drive and so if you absolutely cannot spend a dime more than the amount of the SC5P then a phone will certainly suffice. If I used my iPad then you can use a phone, theoretically.
Sound Impressions
Real quick note…
Okay, we finally made it to the sound portion of my review which also happens to be the only section any of you really care about. When I first received the Rose Technics Star City 5 Pro, it was an up and down ride for me. Much like when I reviewed the Rose Technics QuietSea (QuietSea Review) I went on a roller coaster ride of good to, not-so-good to, I’m in love. I only say this because I want to inform you that I didn’t fall in love until I gave the Star City 5 Pro roughly 50 hours of burn-in playing white noise, pink noise and different tones and sweeps using tracks made for this purpose (burn-in). When I first got the SC5P I was not happy with the amount of brightness from the upper-midrange and treble region. It was slightly peaky, tizzy, splashy and simply not to my liking. However, I remember the rep telling me to burn in this set for at least 24 hours. Without question this has helped. Brightness has all but gone away and now I hear a very nice balance. Heck, I’d even say it tilts warmer than anything now. From bright to warmish is a huge change. Burn this set in folks.Condensed sound report
The Star City 5 Pro is a semi-smooth sounding iem with a slight V-shaped sound signature, or possibly a U-shaped sound depending on your source. It has a warm/neutral sound altogether, with a warmer low-end thru low-mid and some added upper-mid/lower-treble energy which tilts cooler. There’s a good balance across the mix. The SC5P is a full sounding iem with a nice macro-dynamic expression. Not as neutral as something like the Rose Technics QT9 Mk2s or MK3 but close to them in the resolution department. There are a couple similarities though. The QuietSea, the QT9 Mk2s, and the MK3 all had that neutralish but persistent energetic dynamism, moderate but punchy low-end, and very resolute respective to their price points. Listening to the SC5P, it is definitely energetic, dynamic with a moderately punchy low-end, but it simply leans a hint warmer and has better note weight to my ears. Also, the SC5P is smoother than those sets.A tad bright at times…
However, as with anything, this is not going to be to everyone’s liking. This is a set which can get slightly bright/glaring at times in the right tracks and with the right sources. The SC5P is kind of a chameleon folks. I know, any set will change with the source to a degree. I get that, but I hear more of a drastic swing with this set than most others. If you have a brighter source the SC5P will reciprocate with a touch more upper-mid/lower treble brightness. Never too much for my ears, but I know there are many who are sensitive to a brighter replay. However, I feel there’s enough low-end warmth to counter that elevated sound up top and there’s a good balance across the mix. I should also stress that the more I’ve listened to this set, the warmer it got. I am not joking about this. Despite that, fans of a warm or dark sound won’t exactly jump over each other to get to the SC5P either. I said only slightly warm. I just want you to know what you are getting.Sound between the 20’s
I hear a nice mid-bass emphasis in the low-end which helps maintain that good balance of the mix. It’s a fairly punchy sounding bass, above moderate in its rumble, but not as extended into the sub-bass. Despite that, the SC5P has an atmospheric transient response down low. Transients aren’t “slow” but there is some decay & sustain lag for a more organic sound. The midrange is warmer, more forward than it isn’t, and has good note weight and density. It has a clean but also compact note profile with smooth textures and good depth for the price of $65 (in my opinion). Vocals and instruments come across forward, smooth, and have good imaging capabilities. The lower treble is emphasized but you won’t hear the best upper-treble extension either. I find details & separation are about average while imaging is very good, and the soundstage is average to above average in all directions. This is a very well tuned iem and one that I am more than happy to report about folks.
Bass Region
The low-end of the SC5P is pretty punchy with a very nice emphasis. This is a low-end that favors the mid-bass more than the sub-bass. It has a slightly warm, solid note structure. I’d say that the bass region comes through slightly softer in attack and just above moderate in density, rumble, and slam. This set is certainly not for bassheads or those who enjoy a beefier low-end. No worries though, the bass has enough rise and presence to carry most genres quite well. I wouldn’t call the SC5P bass region pillowy, or weak, and definitely not dry or hollow. Again, it’s ever-so-soft on attack at times and not always concrete hard, but it’s a strong thud with good solidity. It’s like I always say for these types of low-end replays; a hammer wrapped in a sock. It’s smooth and the SC5P can bang. There’s some intensity, but that intensity is capped so that it doesn’t overtake any other area of the mix. The people at Rose Technics made sure to bring the bass level up just enough to add some presence from this region, yet at the same time never overpowering the rest of the frequency. This is a set which most surely rises to the occasion and can surprise at times with the level of clean boom you get. All of this depends on the track you are listening to and the source you are listening with.Sub-bass
The sub-bass isn’t the most extended that I’ve ever heard but it also isn’t non-existent. It’s adequate. I hear a mildly hearty rumble and drone in the track “Groove” by Ray Wylie Hubbard. This is not the type of sub-bass which will reach desperately low pitches or create loads of haptic feedback. It’s there and it represents this track well, but it isn’t like some sets which are created to rumble. I hope that paints the right picture. This is actually a tighter sub-bass which relies on its ability to hit-n’-git. It plays what’s asked of it and moves on. In the track “Higher” by Chris Stapleton, once the chorus begins there is a slow but sonorous bass guitar riff that I found to be very well done on the SC5P. There’s enough bass guitar fullness to carry the track with that low drone while Chris’s vocals sit on top nicely. This riff is a staple (no pun) of this track and should add an element of emotion to the song. I do believe that the SC5P succeeded in that. So, while this isn’t the most boosted of all sub-bass replays, it is still very well accomplished and fairly clean in its smoother replay. The note definition is okay even though the transient decay isn’t the sharpest or most precise. Again, it isn’t by any means slow or blurred. I’d say the transients in the sub-bass are a nice mix of atmospheric and tight.Mid-bass
The mid-bass region has enough warmth and textured character to add some nice energy to a track like “Wolves” by Big Sean. Like I said, the SC5P will rise to the occasion and replay what a track is giving them but with a little extra energy. There is a bit more color to this region than the sub-bass and a bit more forwardness. I hear a dense and satisfying bass drone on this track with a solid note outline. Nothing fuzzy or soft. Another track is “Humble Beginnings” by Bazzi. This is another hard bass drop which is recorded to have some beef to it. The SC5P does a great job of coming across with a semi-meaty resonant boom in respect to the recording. Rose Technics tuned this low-end to walk a fine line of mid-bass warmth and thickness, but also cleanliness and transient swiftness. Let’s put it this way, the SC5P is not going to overtake the entire mix in a bass induced veil, but instead it will reproduce what it is given, in a less intense manner and not sacrifice cleanliness to do so. Now, there is some warmth which spills over into the midrange which makes for a very melodic and pleasurable set to listen to. The mid-bass may not be overly boosted but it also doesn’t feel weak, not by any means.Downsides to the bass region
When thinking of the drawbacks to a bass of this type I have to remark that bassheads will not be impressed. This is a bass that comes across with decent speed, good textures and definition too, but not snappy enough to attract those who love a super agile and transient tight signature down low. It won’t attract even moderate bassheads either. Yes, the SC5P will replay a heavy bass drop with ease and sound pretty deep, but it doesn’t necessarily exaggerate or color those bass drops to a great degree. Bass guitar is just full enough, just biting enough, but it won’t please those who really dig that guttural sounding bass guitar. Kick drums do have that hollow thud with a sticky edge in attack, but they also come across as slightly less intense compared to other sets. They don’t have that hard intense snap at the crest of notes. Is this a bad thing? I suppose that depends on who you ask. I think the low-end is actually quite good and I don’t think I got that across as well as I should have. It’s clean, robust enough and is pretty well contoured. I could certainly use a few more sub-bass db’s and tighten up the mid-bass a hair. Still, all things considered… this is an organic and satisfying low-end and I’m happy with it, as is. Not bad at all Rose Technics.
Midrange
The midrange is one of the highlights of this set. I do hear some spill-over from the bass to the midrange, but in no way is this a bad thing. This adds smooth and warm textures for a melodic and musical experience and nice note weight. Not thick or heavy, but lean-lush, semi-rich and pretty clean. The mids are very nice for me and my library. Tuned with just enough emotion and musicality as there’s a sense of warmth in the region that does a great job of adding an element of organic sensibility. However, just like all of Rose Technics iems that I’ve reviewed, the midrange holds tight to the technical side of the music as well. It’s a nice mix actually. Also, it’s a tough line to walk for any tuner. Rose Technics saw fit to bring the midrange forward just enough and balanced the mix and just enough to keep from calling it a “mid-centric” iem. This is a balanced iem with a very nice midrange. Vocals are very pleasing to me with good note density. The sound is most certainly not dry, papery, or analytical. On the flip, the sound also isn’t milky, rich or thick sounding. Again, it’s a nice mix and I like it. Hard to believe this set costs under $100 actually. Lower-midrange
When I speak on the lower midrange I will always zero in on male vocals primarily. Males come across slightly warmer than not, with solid note weight. Male singers sound like male singers should sound. I hear good body with a smoother inflection and fundamental tone to most male vocalists. Crisp when they need to be crisp, but never knife edged or too coarse. This is a pretty clean lower-midrange with good resolution for a smoother replay while never sounding attenuated, pushed back, or recessed to any great degree. Basically, males still have good presence in the mix. Listening to Chris Cornell’s version of “Nothing Compares 2 U” is a great experience with the SC5P. His voice has that dirty and edgy charm as the SC5P replays his voice without coming across too withdrawn like so many sets can do. “Highway Woman” by John Vincent III is also a track which draws on the SC5P’s strengths. His voice reaches a bit higher in the register and the SC5P adds a bit of extra vibrance and energy which is great. There are subtle details and fluctuating intonations within his vocal delivery that are captured well on the Star City 5 Pro. With its more resolute sound, lean-lush yet dense note weight and crystalline note outline…males sound very good.Upper-Midrange
The upper-mids certainly have a more shimmery sound and have more energy than the low-mids. More vibrance, slightly thinner in note weight, but notes also still have a core density to where they don’t sound dry or actually… “thin”. If they were too lean, I wouldn’t like them. Actually, females sound effervescent and melodic and I feel the sound of the SC5P is geared towards female voices. They sound more forward, in an intimate way, more romantic and soothingly vibrant rather than glaring or shouty. Instruments in this region have a hint of luster to them but don’t sound as though they are unnatural or colored too much.I really like Rachael Price’s vocals singing for the band Lake Street Dive in the track “Baby Don’t Leave Me Alone With My Thoughts”. Her voice is pregnant with this resounding convexity to her voice which is ridiculously appealing. The talent demands a decent sounding iem. I love that the SC5P doesn’t inflate and negatively magnify this “resounding” quality by making her voice too glaring and strident. Instead, what I hear is a polished smooth voice with nice shimmer and decent weight. This is true for most any female vocalist I’ve listened to with the SC5P.
Instruments
I really don’t feel good about generalizing instruments in my reviews. I have found that they can change by the track. So much has to do with how a track was recorded. I find percussion seems to have a hard snap on attack for cymbals, snares and even kick drums. They can sound very satisfying in the right situation. Like in “Billie Jean” by Weezer, the song is carried by booming kick drums, but each kick drum boom is directly followed by a snappy and hard “Pang” from a snare. I love it. Strings sound good, energetic, edgy at times too. Are they perfectly natural? Probably not. Of course, once I find out what “natural” sounds like I’ll make sure to edit this review. Lol. There is just a bit more luster to any instruments replaying closer to the upper-mid area and a bit less close to the lower mids. I do like piano in most situations as well.Downsides to the Midrange
If I were to point out issues that one “may” subjectively make about the Star City 5 Pro, I would first say that the upper midrange can induce some glare on the right track. I find this few and far in between, but it’s there. Also, I could use a bit more separation of elements in this region. The sound is pretty well smoothed over and so the definition is a bit less than perfect. Details aren’t exactly in abundance either but that’s the price you pay for good musicality. Also, detail retrieval isn’t non-existent either. They just aren’t the SC5P’s specialty. For me, I happen to like the midrange efforts of this set with its semi-forward presentation and clean smooth and bodied-up sound. You don’t have any odd timbral issues that I hear as everything is closer to organic and you don’t have any sibilance either. This is a well-adjusted midrange that is more musical and pleasant than most sets in its price point in my opinion.
Treble Region
As I’ve alluded to earlier, the treble has been the biggest up & down feature of the SC5P’s tuning. When I first got this set, it was pretty bright up top. The entire signature was closer to neutral/bright than anything else. However, after roughly 50 hours of burn in and extensive listening, I would now call this set warm/neutral as a whole. Talk about a change. At any rate, the condition this set is in now is what I will be reviewing. That is, a slightly rolled-off treble region with quite a bit more emphasis in the upper-midrange to lower treble area. Now, I don’t have any sort of a graph to compare with what I hear but I’d be willing to bet that there is more energy there and a drop off before the air region. The treble is somewhat airy and open. It can get bright at times but nowhere near to the point of calling the treble “bright” in general. I also don’t hear any forced oversaturation of this region. Better said, I hear no forced resolution. It comes together pretty natural as the treble does fit the overall balance of the sound as a whole quite nicely. Nice treble region
This is a nice sounding treble with a good mix of crisp and smooth that does a decent job of displaying details, all the while keeping an almost laid-back profile. I don’t hear anything outright sharp or shouty although like I’ve said, the SC5P can get a bit hot at times. I find the leading edge of attack has some bite to it and note weight in this region has good body. This is not a thin and dry treble. Notes have some decent presence. There is a feeling of enhanced clarity due to the rise in this area of the mix. It just feels spicy in a good way. Especially for instruments which reside near that lower treble region like violin, piano, electric guitars, flute etc. They all seem to have very nice fundamental tone & timbre and plays very well with the overall tuning of the SC5P. Now, just past this region I do feel there is a decline and a slight roll-off. At least to some degree because secondary harmonics of a cymbal strike sounds a bit attenuated as well as a few other instruments I’m used to hearing. However, detail retrieval is good and separation in this region is as well. Like I said, there is a sense of enhanced clarity without ever really coming across harsh or screechy. Obviously, there are tracks which will make me a liar but for the most part the SC5P keeps in good control.Examples up top
Listening to Billy Strings and his fast-paced banjo play in “Ice Bridges” is a testament to the SC5P’s ability to separate in a more complicated environment. Each note sounds as though it is round and carries a very nice cadence. I find the sound to be cohesive with the rest of the mix as well. However, in the track “Bishop School” by Yusef Lateef I do find that the SC5P can sound a hint less energetic in some portions of this track. The speed is good but there is simply less air to the sound which almost muffles certain sections to a degree. Now, I was happy to hear that Greta Van Fleet’s track “Fate of the Faithful” didn’t kill my ears in screeching electric guitar glare. Another track that runs a bit hot is Nirvana’s “Bloom” which was fine on the Star City 5 Pro.Downsides to the Treble Region
I would say that treble heads will definitely be left wanting here. There simply isn’t enough open airiness and treble punch to come across satisfying to those treble junkies. Also, I do hear a roll-off which really isn’t terrible but kind-of attenuates some info past 10k for me. There is some treble sharpness in some tracks as well, but again, those are less common and not a usual occurrence. Orchestral music sounds a hint less energetic at times too. That all said, the treble region is pretty nice actually. It won’t win any awards and won’t change your life, but it does replay this region well and very cleanly. There is enough body and presence to formulate a nice and cohesive jump from the midrange to the treble. I think the best part about the treble and (something that I probably should’ve started this section with) is that the treble fits the overall tuning nicely. Rose Technics doesn’t make mistakes folks and there is usually purpose in their tuning decisions. I hear a well-controlled, separated, and detailed treble here.
Technicalities
Soundstage
The soundstage is one with average width and good height. Nothing out of the ordinary or so expansive that it’s worth bragging about though. However, the SC5P does have good depth to the sound. I hear pretty good layering as well. Also, when I say “average”, this is not a bad thing folks. Average is good. Average means that the stage is at least appropriate to the music funneling into my ears. I simply wouldn’t call this stage as massive or widespread. We are missing some extension both ways which also seems to play a part in this average stage width. Still, depth is nice. I certainly hear some front to back layers to my music. Of course, this can change slightly with whatever source you are using. I primarily used my Fiio Q15 and Shanling M6 Ultra. If anything, the sound is a hint wider with the M6 Ultra but for the most part… Average. I don’t necessarily hear a fully 3d sound but the sound field within my mind certainly leans in the direction of holographic.
Separation / Imaging
When I have the SC5P in my ears I’m usually enjoying its fine musicality. However, when I’m listening for distinct separation of instruments and vocals there are times that they sound a hint more smoothed over than some sets in this price range. I don’t want to make you think this set is all butter though. The SC5P can come across with some distinct separation at times. However, in the grand scheme of things I’d say that separation is about average listening to the SC5P. Some songs and genres are better than others. In more complicated and congested tracks featuring more moving parts and commotion it stands to reason that audible separation will not be as good. Imaging on the other hand is actually very well laid out. Everything is placed nicely on the imaginary stage within my mind.Detail Retrieval
Detail retrieval can be pretty darn good on this set. Again, unless a very complicated and congested track is playing. For the most part though, I’d say that the SC5P is about average altogether. The truth is this set wasn’t tuned to prioritize extracting every last detail. Thankfully it wasn’t. This isn’t a dry and analytically crisp tuning. The bass isn’t flat. There is a balance across the mix, but macro dynamics are more energetic and the note structure across the mix is smoother than anything else. The SC5P was made to play music and to be musical, and to counter that musicality with some decent technical chops. I feel that about sums it up. No, the SC5P is not a detail monster but it does help in hearing some of the micro-details in the right situation. I mean, clarity is nice in this set and resolution is certainly above average. However, just to be fair, and to call a spade a spade… the SC5P is about average, and depending on the type of track you are listening to they can pull off above average.
Comparisons
Okay, so I had some moments of hard deliberation as to what price point, I’m going to conduct these comparisons and for the ratings later in the review. Right now, the SC5P is going for $65 on Aliexpress, but the MSRP is around $130. That’s a huge difference. I don’t know how long the sale is going to last either. Heck, it may be permanent, who knows. Anyways, I decided to choose some hybrid sets around the $100-$130 price points. By the way, this will be very simple comparisons using very general terms. Hopefully they’ll help you with understanding how the Star City 5 Pro sounds. Also, these comparisons are not a duel to the death to crown one the winner over another. I really don’t feel that is helpful to anyone. Simgot EM6L ($109)
The Simgot EM6L is a set I recently reviewed (EM6L Review) and I found it to be utterly musically warm and sumptuous with a fatigue free sound that is all about comfort and chillin. Simgot created this set to fill a small void in their high-budget price point which could’ve used a hybrid iem. The EM6L is also a huge departure from the type of tunings that we are used to in a “Simgot” iem. Like I said, the EM6L is a hybrid iem consisting of one dynamic driver and four balanced armature drivers. This set is one of the better iems sitting comfortably around the $100 price point, but it is a fairly polarizing set with its warm and lush tuning.
Differences
To start, the EM6L is quite a bit larger than the SC5P. However, the SC5P does fit a bit deeper in comparison. I feel that the SC5P is built a touch better with a more classy and stylish design. The EM6L on the other hand is more typical in shape. Both are nice looking, but I don’t think many would say the EM6L is the better looking of the two. One drawback, or strength is that the SC5P uses an mmcx connection while the EM6L uses a QDC style 2-pin. Both sets are accessorized well but the SC5P is certainly the better of the two, by a long shot. Just more premium across the board. Also, the SC5P comes with its own dongle dac which actually sounds nice.
Sound Differences
When comparing these two sets in the sound quality department, I almost consider this a preference battle. Almost. There is one similarity and that is the fact that both sets have a warmer tilt, and both have a musical and smooth note structure and cadence.I find the EM6L to be much more bassy with a longer decay. It’s extended down low deeper, it’s warmer in this region and simply bangs harder. The SC5P has a tighter and more separated and distinct sound in the bass. Both are emphasized, but the EM6L is just emphasized more. The SC5P is simply a cleaner and more realistic.
The midrange of the EM6L is warm, slightly recessed and milky smooth. The SC5P is also smooth but it carries a more vibrant sound, closer to neutral by a small degree. Just more energy across the board while the EM6L sounds more laid back. I also feel the SC5P is the more clean, resolute and detailed of the two midranges. Both sets do vocals nicely but the SC5P simply does them better in my opinion.
The treble is extended a bit better on the SC5P with a more shimmery and vivacious sound. Again, the EM6L has a warmer treble and is certainly less offensive or has less of a chance at harshness. SC5P has more of a bite and has the more transparent treble.
The soundstage of the EM6L is a hint wider. However, the SC5P has better depth which serves for better layering. Listening to the SC5P, I also hear a more detailed sound with better resolution. Separation of elements within a stage is easier to hear on the SC5P as well.
Final thoughts on this comparison
I feel this comparison with the Simgot EM6L is a good litmus test for the Rose Technics Star City 5 Pro. There are some stark differences between the two but there are also some slight similarities too. When I look at them both I cannot help but come to the conclusion that the SC5P is simply more refined across the board. Of course, I know many folks who would rather have a warmer, bassy and non-fatiguing set. However, for me, I’d go with the SC5P. Call it a honeymoon phase if you want, but it’s a great set and does outclass the EM6L. Again, my opinion.Celest Phoenixcall ($129)
The Celest Phoenixcall is a set which garnered quite a lot of praise as well as a few high-profile detractors. Some remarked about the frequency graph and how bad it looked, without actually listening to the set of course. Lol. I for one really enjoy this iem and still bust it out from time to time. I actually reviewed the Phoenixcall (Phoenixcall Review) early last year and gave it high praise. The Phoenixcall is a tribrid iem, meaning it offers three different types of driver tech. That is, one 7mm dynamic driver, two balanced armature drivers, as well as one 6mm micro planar driver. For the price I don’t think you’ll find anything even remotely close to these set-in terms of driver configuration. At the outset it’d seem unfair to compare the two, but also, I think the SC5P can hold its own.
Differences
As far as differences between the Phoenixcall and the Star City 5 Pro, I’d first say that the Phoenixcall is built entirely of resin and the SC5P is a resin and alloy mix. I cannot name which is built better because, I honestly don’t know. They are both built nice to my eyes. Also, aesthetically they both offer a gorgeous design. The scene on the Phoenixcall’s faceplates and the beautiful colors, transparent housing, and perfectly matched cable is absolutely beauteous. However, the SC5P slaps back with that dope looking minimalist look that’s oozing with class. Two different looks but both are great. Looking at the unboxing, Celest/Kinera may be the only brand that can outperform Rose Technics for unboxing experiences. Between the SC5P and the Phoenixcall it’s close. I think Rose Technics probably wins out just because of the included dongle dac. Again, both sets are equally good. I told you the SC5P could hold its own.
Sound Differences
The Celest Phoenixcall is a warmer sounding set with a more V-shaped profile and bigger bass that hits deeper and harder. The Phoenixcall has a less soft bass note. However, the SC5P is no slouch and has a hair tighter bass, slightly less atmospheric sounding and a hint better defined. These are very miniscule differences though. I probably dig the Phoenixcall a bit more here, but both are great.The midrange is more melodic in the SC5P displaying vocalists better and cleaner then the Phoenixcall. The Phoenixcall is a hint more pushed back and recessed than the SC5P. I also hear a smoother and more musical midrange from the SC5P too.
The treble of the Phoenixcall is better extended and slightly brighter with better detail retrieval, better treble punch and definition. Again, these are marginal differences at best. The soundstage size goes to the SC5P as it simply shows better depth to my ears. Detail retrieval is better by a very small degree on the Phoenixcall. However, I do find the SC5P to be slightly more musical and emotional sounding.
Final thoughts on this comparison
This is a tough one for me. I wasted at least two hours comparing through many tracks and I couldn’t tell you which I like better. Whatever was the last set in my ears is how it went for me. They are both two very dynamic and fun iems with different signatures that replay my music very well. The SC5P’s MSRP is actually about the same price as the Phoenixcall. So, imagine now that you can get this set (SC5P) for $75. It’s a steal, folks.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Rose Technics Star City 5 Pro ratings below, that would be $60-$120 hybrid style iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $60-$120 US is a huge scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
–Build Quality: 8.9 Built very well.–Look: 9.3 What a nice looking iem!
–Accessories: 9.9 Tops in class (that I know of)
–Overall: 9.4
Sound Rating
–Timbre: 9.1 Very nice timbre.–Bass: 8.7 Bass is nice.
–Midrange: 9.4 Great vocals.
–Treble: 8.1 Energetic with a roll-off.
–Technicalities: 7.4 Not the SC5P’s strong suit but still pretty good.
–Musicality: 9.2 Musicality is great.
–Overall: 8.6
Ratings Summary:
I decided to rate the Rose Technics Star City 5 Pro against hybrid iems ranging from $60 to $130 US. Why did I do such a thing you ask? The answer… because I don’t know how long this sale will last so I simply added both price points. Now, there isn’t a super vast number of hybrids in this range, but it is large enough of a pool to bring down some ratings. Also, be aware that I haven’t heard every hybrid in these ranges so please take these ratings lightly. Actually, always take any rating lightly. It is an awful way to establish how good or not good an audio device is. There isn’t any nuance in a rating and by my estimation, this hobby is 100% nuance. I do these because I was asked to and because for some reason you guys actually find them useful. Seriously though, don’t mind me, I’m just complaining because ratings are usually an arduous process.Explain Yourself!
Of all the ratings here, I don’t feel that any of them need a ton of explanation. Perhaps I rated “technicalities” a hair low at “7.4” but I just couldn’t see myself giving the SC5P over an 8.0. Details are good, but not great. Separation is kind of smoothed over in places. However, Imaging is great, and the soundstage is pretty deep with a nice holographic type of sound field. I feel a “7.4” is justified. All of the other ratings I’ve gone over for way too long going back and forth. I do feel like I got them right against every set I own or have spent enough time with to have a good enough understanding to compare the SC5P. An overall “8.6” in the sound department is actually really good folks and it stands to reason after spending good time with the Star City 5 Pro.
Is it worth the asking price?
At $65 this is one of the easiest no-brainer sets on the market. My opinion of course. Even at $129 the SC5P is a nice set. I absolutely enjoy this iem folks but I’m sure that not everyone will be as joyful over it. Especially when you have so many very good iems to choose from. You have sets like the CCA Rhapsody (Rhapsody Review), Simgot EM6L (EM6L Review), Celest Phoenixcall (Phoenixcall Review), EPZ X-Tipsy Star One (Review coming soon), Truthear Hexa (Hexa Review), TangZu Fudu Verse, GeekWold GK20, Hidizs MS2, Celest Plutus Beast, Letshuoer X-Gizaudio Galileo, Fiio FH3, Fiio JH5 (JH5 Review), Hidizs MS3 (MS3 Review), among many others that I don’t feel like listing here. I do feel the SC5P stands pretty tall against the field, but certainly there are others which compete very well. In fact, (not really a fact) I feel the SC5P may just top the list here for a few of you. Maybe more than a few… It’s a great set friends.The Why…
First off, the Rose Technics Star City 5 Pro comes with a fantastic unboxing experience. Not to mention it comes with its own dongle dac! Which sounds good by the way. Not the most powerful of dongles but very nice sound and very compact and small. Anyways, the SC5P is a very sharp looking iem that is built pretty well. It’s a class act from front to back. However, the main reason why any set is worth its price comes down to how well it can replay music. Thankfully, music is the SC5P’s specialty. I find this set to be a very musical iem with each area of the mix being represented well. The bass is a great mix of organic and clean with a midrange that offers great timbre, clarity, and is forward just enough to really help vocalists come across well. Also, this is a smooth midrange which somehow doesn’t completely skimp out on details. The treble is mostly non-offensive and still has a nice layer of brilliance to it which helps the overall sound of the SC5P to feel dynamically balanced without any one area overshadowing another. Honestly, the SC5P is a very well-tuned iem from a company that knows how to tune an earphone. Absolutely the Star City 5 Pro is worth the asking price.
Conclusion
To conclude my review of the Rose Technics Star City 5 Pro, I want to thank the good people of Rose Technics for providing the Star City 5 Pro in exchange for a full review and feature at Mobileaudiophile.com. Rose Technics has only ever been completely professional and curtious and never has asked me to change my review to suit an agenda or to make their product more appealing to consumers. So, thank you very much. Other perspectives
Also, please check out other reviews of the Star City 5 Pro from other reviewers as it will help you to get a gauge on exactly what you are getting. As I always say, we are all very different and hearing from other folks who have experience with the SC5P will only help you to make an informed decision. With that said, I thank each one of you for taking the time to read thoughts about this set. Please take good care, stay as safe as you can and always… God Bless!Full Review HERE
cqtek
Huge review, qualitatively speaking, as usual. Thank you very much.
Fiio JH5 Review
Fiio JH5
Intro
Hello folks I have with me the latest mutli-driver hybrid iem from the very popular brand Fiio named the Fiio JH5. The JH5 consists of one dynamic driver and four custom balanced armature drivers. All this costs roughly $79. Fiio has been around for a long time, and I’ve owned a bucket load of their iems, dac/amps, daps and Bluetooth dacs and I gotta tell you, I’ve always liked what I’ve spent my hard-earned money on from Fiio.Jade Audio?
The JH5 is partially created due to a collaboration with Fiio’s sister company Jade Audio. Jade Audio is much like Fiio in that they seek to create more price to performance type iems and audio devices. In fact, from what is understood, Jade Audio was brought on just to create less expensive products yet hold onto the same quality. Of course, the name on the box says “Fiio JH5” and so I will continue to call this a Fiio iem within the review. Honestly, it is hard figuring out what is a Jade Audio product and what isn’t at times. I feel the only thing Jade Audio doesn’t do is make products over a certain price point. Mostly ultra-budget to high budget ($100) iems and audio devices. One thing is for sure, you are getting a certain quality with either brand. Always, you’ll have fantastic build quality, accessories galore, top class features too.Good track record
Now, I’ve only reviewed a few sets from the company. A couple years ago I reviewed the Fiio FH9. It was a great set and still is. Another recent set was the Fiio FH15 which was a banger of a set and really just pure fun. I also reviewed one of the best iems under $100 that very few have even tried with the Fiio JD7. It is a true class act and should be on your shortlist under $100. Lastly, I reviewed the True Wireless hybrid set from the brand, the Fiio FW5. Fiio has had a litany of great sets which stormed the audio market from the very popular F9 Pro back in the day to the Fiio FH7, Fiio FH3, FD7, FD5, and all the way to the latest new iterations in their lineup with sets like the FH7s. Of course, I left out a number of banger sets, but you get the point. Always, a Fiio set will have a few things going for them right out the gate. You’ll get a great unboxing experience, fantastic top shelf build-quality and design, and you’ll seemingly always get a fun sounding earphone. Of course, Fiio has had some duds over the years, but seriously… what brand hasn’t? I’ve always been a fan and I’m happy to review the JH5 today. But is the JH5 worth the $80? That’s a question I hope to answer. The Fiio JH5 everyone…
Gear used for testing
–Ifi Go Blu portable Bluetooth dac/amp–Moondrop Dawn 4.4 dongle dac
–Aful Snowy Night dongle dac
–Fiio Q15 dac/amp
–iBasso DX240 with Amp8 MK2 dap with removable amp section
–Shanling M6 Ultra dap
Packaging / Accessories
Unboxing
The Fiio JH5 showed up at my door in a medium sized (what’s medium Chris?) cardboard box with a glossy metallic looking picture of the JH5 on the front and some specs on the back. Nothing unusual. As you open the box, you’ll see the handsome JH5 attached to the cable in a hard-foam cutout. Next to the earphones is a box which contains the really weird but oddly cool carrying… Um…drawer? Carrying drawer. You’ll also find the many pairs of eartips provided as well as an MMCX tool. For $79 I feel the JH5 comes with some very nice accessories. I know this doesn’t always mean too much to everyone but it’s a nice unboxing experience.
Eartips
Fiio provides six sets of eartips in two different styles. They give three pairs of their Fiio HS18 tips (S, M, L) and three pairs of narrow-bore gray tips (S, M, L) with a shallow fit. I feel this is a decent assortment of tips. However, I have never liked the HS18 tips from Fiio. They have a very flimsy flange which doesn’t even try to seal in my ears. I’m sure some of you reading this have no issue at all with them. Also, I didn’t feel the narrow-bore tips were right for me either as they seemed to give the bass unneeded mass and made them a hair too boomy. I actually went with the tried-n-true KBear 07 tips which gave the low-end a punchier sound. Your mileage may vary.
Carrying Drawer
Folks, I have zero idea what to call this thing. Is this a case? Is it a drawer? Who can know? Anyways, Fiio provides a very odd but also pretty cool clear plastic case with a pull-out drawer. I don’t know if anyone will have any use for this thing. It is rather odd and to be totally honest it has been a good place to put some extra audio goodies I had scattered in my bedside drawer. The case is roughly four inches long by about two in width and height. It is completely clear and made of hard plastic. It has a pull-out drawer which you can open and store your earphones. Of course, this makes almost no sense for use with carrying this set anywhere. First, it has no padding of any sort or protection for your precious earphones internally. Also, it’s a big rectangle which can open anytime. I don’t know what Fiio was thinking on this one, but it is oddly cool. I suppose.
Cable
The included cable is a fine-looking wire. I feel it is fitting of the price and nice to look at. Recently Fiio hasn’t really provided their lower priced iems with cables that actually look aesthetically pleasing. I haven’t been impressed of late. However, the cable with the JH5 is much better. To be exact, the cable is a silver colored, 3.5 single ended 2-pin cable, made out of 392 wires of silver-plated copper and terminates with a right-angle plug. I really enjoy how supple and soft this cable is. It has a nice fat braiding which is nice to look at and looks great paired with the JH5. I don’t feel you need to swap cables at all unless of course you are like me and mostly listen using balanced sources.
What I used
Real quick, I used the 4.4 balanced Letshuoer M5 cable for use with my balanced sources as well as the included cable for any single ended use. You’ll notice many of my pictures have the M5 attached due to the vast amount of balanced listening I’ve done with the JH5. Sonically it seems like a nice match, and I also love the M5 paired with the JH5 for aesthetic reasons. Basically, they look dope together.
Build / Design / Internals / Fit
Build Quality
One thing Fiio never lacks in is build quality. All of their iems are built very well with nice materials and usually are pretty darn durable. The JH5 shell is made with a clear hard and high-quality plastic by way of 3D printing. The faceplate is made from a zinc alloy and obviously polished nicely. The shape itself is quite a regular iem shape. Nothing crazy here. The Shells are very ergonomic while also being pretty large in comparison to the average iem. Of course, Fiio did have to squeeze five drivers within the Shells. The nozzle is of medium length, which is nice, not too long and not too short. Folks, this is a very well built iem. It may not look like it in pictures but once you get them in your hand you can feel it. They feel robust and solid, nothing chinsy or weak feeling at all. Fiio does build quality correct friends.
Design
This is where I could see half the community loving the design and half not enjoying them as much. However, as for me I love the look. Minimalist yet sleek. Modern yet simple. The JH5 actually comes in two different colorways of both “silver” & “black”. Obviously, mine is the black version (not really black). Fiio made sure to have a transparent shell which is always something that I enjoy. You can peek into the Shells to see the inner workings and Internals of the JH5. Pretty cool. Of course, we are seeing this more and more. Still, I like that the dynamic driver of the JH5 is easy to see as well as the two balanced armature drivers. The faceplate is the real looker though. Again, it is made completely out of Zinc Alloy and has the coolest simplistic look. Fiio did an awesome job with the mirror finish folks, this set looks dope. All you have is the brand name “Fiio” on the faceplate yet with a raised-up portion to the back that creates some nice dimensionality. It is hard to describe it but as you can see in the pictures, it’s a nice looking iem. Paired with the included cable it is double sweet. Fiio did a great job on the design.
Internals
Within the housing of the JH5 Fiio states that they separated all drivers into three separate chambers inside the acoustic cavity. Each chamber is designed to add some separation of frequencies between the 20’s. They actually used a 2nd generation 10mm carbon-based dynamic driver for the lows. This is the upgraded driver from what Fiio used in the Fiio FD11 and FH11. Fiio also says that two custom BA’s handle the mids & highs and two custom ultra-high frequency (UHF) BA’s handle the upper-treble. Both UHF drivers are strategically placed a little closer to the nozzle. Fiio also states in their promotional material that they used acoustic design ideas from two of their most popular and best sounding flagships, the Fiio FH9 (an awesome set), and the Fiio FH7 (another awesome set). It doesn’t state how they went about this, but I’m going to believe them anyways, until proven otherwise (which’ll never happen). They also used what is called “negative feedback bass enhancement tech”. Fiio also made use of a three-way crossover.
Fit
The fit for me is perfect. I have been on a string of amazing fitting iems folks. The JH5 truly hugs my ear like a hand to a glove. I probably could’ve thought of a better analogy. Anyways, the shape is very ergonomically correct, at least for me. I have no idea how this set will fit you. Isolation is about average, what you’d expect from most any iem so long as you have the right tips to provide a good seal. This is not a heavy iem either and doesn’t weigh down my ear, make it ache at all or cause any discomfort to me while listening.
Drivability
The Fiio JH5 is a simple set to drive folks. Wait, let me say it more perfectly; the Fiio JH5 are freaking sensitive! Like, really sensitive! I had absolutely no issue whatsoever to NEED a balanced cable or powerful source. Single ended is perfectly fine and you’ll reach good volume even off of a smartphone without issues. The JH5 is rated at 13 ohms and a sensitivity of 111 db’s. Basically, it doesn’t take much. Having said that, I do get some slight scaling with a bit more juice. I should also state that the JH5 isn’t very source dependent and can sound pretty good with all of my sources.Mobile Listening
This is a perfect set for simply attaching to a Bluetooth dongle or adapter and jamming out. The sound signature suits this as well (in my opinion). Whatever I used the JH5 with, be it the Fiio UTWS5, Ifi Go Blu, Qudelix 5k, or any of my dongle dacs, I found it to perform well. I did like this set on balanced output the most, but this is not mandatory at all. Of my dongle dacs which I bring to my office, I used the Moondrop Dawn 4.4 and the brand new Aful Snowy Night (SnowyNight Review). I used a few others sparingly, but these are the two which sounded the best to me.
Better quality source
Using a bit better quality source like the iBasso DX240 or the Shanling M6 Ultra I found the JH5 did reciprocate by sounding better to my ears. However, it is marginal at best just how much better it sounds. At any rate, the JH5 performed nicely on both, and neither was necessarily better than the other. I also used Fiio’s own “Fiio Q15” attached to my M6 Ultra and I found this pairing to be quite nice. They sound really great together as the Q15 pushes the JH5’s dynamics and tightens the overall sound a bit. Plus, the JH5 will repay you for the better source.What you need
It’s just like I’ve said, find a decent sounding source with moderate power and you are in business. Still, even if you have a simple phone, I think you’ll be okay. This is a very sensitive set folks which performs pretty well across the board with all of my sources, so I think you’ll be okay with whatever you have to use. I should also state that on more powerful amperage you may not get a completely black background with the JH5. This is a set that is meant to be played with mobile sources, less power. So, when I say this set scales with power, I don’t mean a lot of it.
Sound Impressions
There is something about this set that draws me in. Ever since my first listen I enjoyed my musical library with the JH5 in my ears. It has this “all around me” musical experience with some lovely macro-dynamics. This is certainly a Fiio-sounding set if you ask me. I feel this is a nicely tuned iem if a fun and partially smooth sounding set is what you are after. Possibly if you haven’t checked out a hybrid iem yet then this may be a great starting place, depending on your budget of course.An uphill battle
As with all iems in the budget scene anymore, my one big question is whether the JH5 actually does anything to set itself apart from the vast amount of iems littered across the price point? There really is an actual metric-ton of iems (of any driver configuration) that are stellar within the under $100 scene, and so I do feel the JH5 has an uphill battle. That said, I really like the sound of this set as it’s a fun and musical addition to my collection. Still, I won’t be disillusioned to think that there won’t be many folks who don’t enjoy it as much as I do. I guess I would say that the JH5 doesn’t necessarily do any one thing in a master class type of way. But it does do a lot really well. However, forget other sets of different driver configurations, can the JH5 battle for your dollar amongst “hybrids”? Can it usurp the Simgot EM6L, the Truthear Hexa, the CCA Rhapsody, Fudu Verse, or the fantastic EPZ X-Tipsy Star One (Review coming soon)? I realize I left a bunch out, but the point is made. It’s an uphill climb, a tough battle, and it won’t be easy.Pint sized sound impressions
The Fiio (Jade Audio) JH5 is a fun and engaging listen and that shouldn’t go understated. It has an enchanting & immersive quality to it. Still, there are some oddities to the tuning which will likely render this iem a “no-go” for some hobbyists. Nevertheless, I found this set very entertaining with expressive macro-dynamics and a very vivacious and full sound. The Fiio JH5 is mostly warm in tonal coloration with a definite V-shaped sound signature. Warmer towards the bass and brighter (to a degree) as you enter into the treble. I find the timbre to be pleasing as I don’t get a ton of BA timbre occurring and mostly the sound comes across organically inspired. Again, the macro-dynamics are very present and full of good energy, albeit smooth and slightly less refined as far as technicalities are concerned (that’s debatable). Each area of the mix has good representation from my perspective as well. I feel the JH5 is fantastic for casual listening, but it won’t please those folks who like to glean every last detail from their music.If this is all the further you read
If this is as far as your reading eyes can go, just know; This is a big sound, a full sound and a fun sound. There are some issues with the tuning which I will try to explain in the next few sections and there are very reasonable questions if this set is even worth the money with what is out there. Think of the hybrids in the hobby under $100 anymore, nuff said. Still, I cannot simply give this a negative review if I actually enjoy this set. That would not be correct to me. But I do have some legitimate concerns and again, there are aspects about the JH5 which may turn others off. That’s said, the JH5 is a musical sounding set with merely adequate technical chops but also a larger than average soundstage and nice sounding timbre. Not perfectly natural but pleasing to my ears. Let’s take a look.
Bass Region
The bass is one area that Fiio almost always gets right in my opinion. That is, if you enjoy a larger bass presence. The bass here most certainly encroaches upon the midrange adding warmth and body to the lower mids. This is a warm bass which is atmospheric but exact and hard-nosed in attack. For the record, I love the bass region on this set! I feel it is one of the better bass replays that you’ll find under $100. There I said it. It isn’t soft, pillowy, or hollow… not in the slightest. Drums bang hard with very nice harmonics and bass guitar comes across meaty and angry. I find that this is a relatively well detailed bass region for the quantity that Fiio tuned the JH5 to have. You have good sub-bass extension and a ton of mid-bass slam. I don’t detect the cleanest replay in the world, but that is to be expected for this price and per the quantity of bass. I also wouldn’t necessarily call this the fastest or most transient swift bass, but it is compact for its size which is very nice to hear. Also, no this isn’t basshead, it’s just quality big bass.Sub-bass
Like I said, the sub-bass reaches pretty deep both in extension as well as growl. Songs like “Heavy is the Ocean” by Bush feel like a mini earthquake is happening inside my head. Okay that is going a bit too far. The sub-bass has good haptic feel to every sub-bass note, and this helps when listening to a track like this. There is good tactility to the bass in the lowest of lows giving off a nicely textured sound which only adds to the fun of this set. Listening to the track “Groove” by Ashley Monroe the JH5 is well able to give off a strong droning sub-bass rumble as she sings along without any real muddiness covering her vocals. As I’ve said, I feel the bass is one of the strong points of this set and the extension down low definitely helps to bolster my opinion. Tracks like “2040” by Lil Durk sound great with all the physicality you’d want down low. “Violent” by Tupac is one of the lowest droning songs out there and the JH5 slay on this track. It’s deep, aggressive, and vibrates well. Probably just short of bass head, but I’m sure any basshead would be satisfied.Mid-bass
The mid-bass owns the greatest majority of bass emphasis and has a ton of boom. Like I said earlier, the mid-bass does encroach upon the midrange quite a bit which renders the midrange a hair stuffier than a cleaner roll-off of the mid-bass. Now, for the level of mid-bass that Fiio tuned this set to have I also wouldn’t call it a sloppy bass. It is tight for what it is. For $89 you can only do so much, especially when you are crafting a fun tuned iem like the JH5. So no, this isn’t the most pristine, but it’s satisfying. The mid-bass slams with plenty of authority, bass guitars grumble and growl, kick-drums hit with a strong hollow thud and are met with a tacky edge on attack. “Billie Jean” by Weezer (Michael Jackson cover) shows off how tight a bigger bass section can be as the booming kick-drums decay pretty quickly per the size. “Wolves” by Big Sean is another track that replays on the JH5 perfectly. This set can hit very hard folks. When called upon of course. “Old Man Gillich” by Muscadine Bloodline is another track where the drums just come alive and feel like booming exclamation points to my musical senses.Downsides to the Bass Region
Of course, there are downsides to any set and the JH5 certainly has a few. As far as the bass is concerned, the number one downside, I would think, is the quantity. This is a big bass and I know plenty of people who would not be okay with any encroachment into the midrange, let alone to the degree that the JH5’s bass creeps in. Somehow the JH5 doesn’t come across quite as stuffy as they probably should, but the bass does cover over some finer details on bass heavy tracks. Particularly in the mid-bass as it just glides a bit too far into the midrange which doesn’t provide a perfectly “clean” and “tidy” sound. This also isn’t the fastest bass out there (not slow either) so complicated bass sections at times can sound like they’re… complicated. Honestly, those are the only real issues I see. This set is for folks who DO enjoy a bigger bass and a more fun sound with more bass presence. For what it is, the JH5 has a fantastic bass and nothing to be ashamed of. You just have to enjoy a bigger bass.
Midrange
The midrange has a few good qualities, and a few not-so-good qualities. This is a smoother sound with a slightly recessed midrange for both male and female vocalists. This is not something I would call an issue as vocals have good enough presence in the mix. Based on the graph, I would’ve assumed the mids would sound push back or veiled, but they aren’t too recessed for my ears. I also wouldn’t call the JH5 midrange “forward” either. To be honest, in some tracks the vocals are better than others. It’s kind of a roller coaster ride of good and decent. The spatiality is pretty nice creating a decently holographic sound. Now, this is not the most detailed midrange on planet earth and sort of a departure from some of the more precisely tuned midrange iems in the market today. The JH5 is more about atmosphere and presence. This is not a set overly concerned about any precious details. Having said that, you still can make out some of the more subtle stuff in tracks that don’t focus on heavy bass. The midrange has a warmer tone with nice note weight in the lower portions while thinning out a bit in the upper midrange. There are moments of some glare and sharpness, but I don’t think it will be a major issue to most folks.Lower-midrange
The low-mids have a decent presence as well as a warm and slightly thicker note weight (lean-lush) with decent clarity for what it is. Which kind of flies in the face of what the “Fiio” graph shows which comes in their promotional packages. If you are looking at that graph, you’d think the lower mids would be heavy and even slightly muddy sounding or veiled. I did not hear that folks. Thankfully there’s enough upper region emphasis to counter the bass. There’s a more subdued definition though. You don’t get that transparent type of lower midrange here. This is a warmer low-mid without a ton of dynamism, yet with enough body to make males sound pretty nice if that is what you enjoy. Instruments don’t always come across as perfectly natural and possibly a bit too colored and less separated than I’d like, but this isn’t always the case. You simply don’t have that transparent and crystalline precision that we hear so often anymore. It’s an up and down affair folks. One minute it sounds amazing, and the next… not so much.Up & down
Listening to the Teskey Brothers in the track “Oceans of Emotions” actually sounds fantastic. His voice is naturally gruff and melodically coarse, with a throaty type of raspy charm. The JH5 seems tuned for a voice and a track like this. His voice has decent note body and even some slight vibrance in the mix. The bass is bold yet doesn’t muddy the lead singer’s vocals oddly enough. I also hear good depth on this track with the JH5. The sound is more organic to me. However, a song like “Stick Season” by Noah Kahan which is a pinch higher up the frequency and comes across a bit thinner sounding. Not papery or dry, but thinner. Slightly too vibrant as well and not as organic as I’d like. Is it bad? I suppose that depends on who you ask. For me it doesn’t sound perfect, but I can bear it just fine. There are many more examples of a smooth and lush sounding low-mid presentation and most of the time I’m very happy with what I hear. Like I said, in one moment the JH5 will sound very nice and not so great in the next. For the most part though, males sound pretty good on the JH5. It’s a bit perplexing to a degree as male vocalists (or any vocalist for that matter) can truly sound fantastic with a beautiful vocal delivery. But like a pendulum swings, there are times that I skip to the next track, if you know what I mean.Upper-Midrange
Female vocals on the JH5 are also a bit of a mixed bag as well. The upper-mids are closer to the listener than the low-mids and the sound is pretty forward. There’s some sharpness at times near the upper most portions of the midrange but those times are rarer than they aren’t. I don’t always find upper-mid vocals perfectly natural, and there is some BA timbre and metallic sounding timbre articulation in a couple tracks. There’s a very slight lack (very slight) of perfect coherence between the BA drivers and the DD. I realize none of this sounds good and definitely isn’t a ringing endorsement. However, please trust me that when you pan-out… the JH5 sounds pretty darn nice. They’ll simply surprise you every now and again with some unwanted BA timbre. Having said all of that, the JH5 actually isn’t bad folks. I’ve said it prior, and I’ll say it again, I like the sound. The JH5 simply won’t suit all genres and tracks perfectly.Upper-mids cont…
Take the track “Everything I Didn’t Say” by Ella Henderson. Her voice sounds fantastic on the JH5. This is not a very energetic track, and it doesn’t come across with that sharpness like I’ve been talking about. She sounds extremely good. But if you listen to “Sensitive” by Megan Trainor it’s a bit harsher. Is it that bad? I mean, maybe. Just a little sharp and not as organic. Her voice doesn’t have the same note body, and there’s also a knife edged coarseness to her voice that isn’t the most appealing. Then I listen to Lady Gaga in “Always Remember Us This Way” and I am loving what I’m hearing. She sounds closer to realistic and very melodic and mood inducing. I feel if a track is more energetic near the upper portions of the midrange it’ll possibly come across a bit less than desirable and possibly a bit sharp. Despite that, the greatest majority of the time I would tell you the JH5 does females in a very nice way.Downsides to the Midrange
The downsides of the midrange come in the form of a touch of sharpness from the peak at the pinna rise. Also, the midrange isn’t always 100% authentic in timbre and sometimes comes across a hair sharp for my tastes. I promise though, these instances are few and far in between for me. Perhaps there’s a lack of natural details at times due to the color imposed on the midrange from the bass as well. It’s actually hard to properly get across or explain. Some tracks the JH5 sounds truly wonderful (in every sense of the word) and other tracks the JH5 seemed to lack some clarity due to the masking from the mid-bass push. Obviously on bass heavy tracks you’ll hear this occur more often.One more thing
Having said that, the JH5 sounds better than 80% of iems in its price point. I am being extremely picky. Perhaps too picky. I can tell you this; many of you are going to listen to this set and feel I’m overreacting, and these aren’t issues at all. On the flipside, I’m sure some of you won’t feel I was harsh enough. This is how subjective the hobby actually is. I think my biggest gripe over the JH5 is that I’ve spent a ton of time with the the EPZ Star One (Review coming soon) of late, which is a huge problem for the JH5 from this reviewer’s perspective. Kinda scales this set down for me a bit. Still, if you pan-out… look at the JH5 “as a whole” and not in three compartmentalized frequencies then I think you’ll like what you hear. At the end of the day… the JH5 is a very good set and I really do have a good time listening to it.
Treble Region
Looking at the highs on the Fiio JH5 I have to say that they are slightly airy and open sounding but come across in a relaxed manner. Most certainly not overcooked or over saturated but instead a hint laid back and less rambunctious. There definitely isn’t any forced resolution in the JH5 treble. It fits the big picture of the tuning pretty well. I think Fiio needed to give this set some decent emphasis up top and decent extension to offset the beefy low-end. I do think they achieved that without pushing it too far. The treble is one which does lift up the rest of the mix and is probably the one reason that we aren’t floating in a foggy veil of bass-induced midrange sludge.The treble is somewhat articulate, and I hear average details as well. Certainly not class leading or tuned in such a way that could ever really achieve class leading details. However, for the tuning, the treble can be crisp at times, and at times it does have decent punch & bite, but for the most part it is rendered smoother than anything else. Again, not overcooked. It isn’t hot to my ears; it isn’t glaring or peaky either. Almost like it’s just enough lift in the region to keep the JH5 from sounding too warm or dark.
Extension
Like I said a moment ago, I find the Fiio JH5 to be well extended into the upper highs where the overtones or secondary harmonics of different instruments seek to complete themselves. It’s the cherry on the top of any tuning. I find instruments in this region actually come across reasonably natural and not splashy or tizzy. Again, tastefully done. The extension of the JH5 does a couple things pretty well. One, it helps the overall soundstage to come across that much wider or perceivably wider. Two, they provide a greater sense of levity to the mix and a touch of vibrant macro dynamic expression.Examples
There is a litany of tracks in my treble playlist, and each consists of different types of treble activity. One artist I always go to is Billy Strings. So many of his tracks feature rapid fire and higher register instruments. Listening to “Ice Bridges” you’ll hear his jet-fast banjo play, violin, the chimes thrown in, mandolin, synth too etc. The JH5 does an adequate job of providing some bite to each instrument and is actually able to articulate some of the finer subtleties and details. However, I certainly wouldn’t call the JH5 a “detail monster”, but more on that later. The JH5 keeps up with this track and doesn’t sound like a mishmash of treble sheen and I don’t hear any masking happening anywhere. Molly Tuttle is another artist who stays in the Bluegrass genre and provides similar types of instrumentation. In her track “Yosemite” with Dave Mathews I came away enjoying the edge to the treble attack with the JH5 in my ears. The JH5 has a nice ability to sound edgy yet not sharp. Not bad at all.Downsides to the Treble Region
If I were to point out some issues up top, I would first say that those folks who desire a darker treble or less intense treble will surely want to keep looking. Or those folks who want a more rolled-off sound up top that is more laid-back and even less “offensive” will also probably want to go elsewhere. I would also say that treble heads will not feel the JH5 does enough, not enough bite and treble punch or haptic treble body up top. Of course, I don’t know what they want for $79 but I feel the JH5 does pretty well. This is not a treble which performs past its price point, but I do feel the JH5 does very well against many of the similarly tuned iems within its price point. Nice work here Fiio.
Technicalities
Soundstage
The soundstage is reasonably wide on this set. There is a good feeling of openness and a wider presentation with decent depth per the tuning. I would call it holographic, but I think we may be using this term a bit too much and also, it doesn’t make sense. So, I will instead say the soundstage has an almost 3D sense to it. I wouldn’t say that the depth is a shining star, but it is there and better than average, that’s for sure. Also, better than the average $50-$100 iem is the JH5’s width and height. The presentation is full on the JH5. It isn’t a coliseum and isn’t some massive expanse of sound either. It won’t surprise you with its multi-layered mastery and you should be cognizant that these are iems we are talking about. They are “in-ears” after all. The stage can only get so vast folks. Still, for a $79 iem I feel this is a better than average stage. Now, I should also add that the JH5 may stretch slightly wider, taller and subtly deeper but the sound is also more intimate, closer and not as pushed back or away from the listener. It’s full. I hope that makes some sense to you.Separation / Imaging
This is a section and attribute of the JH5 that wholly depends on what track you are listening to. If you are listening to a bass heavy jam and are expecting to hear the finer midrange details and hear something with wonderful separation, then think again. The bass is emphasized enough to kind of blur the stage a bit and not separate instruments as well as it can when the bass isn’t as aggressive. Also tracks which are extremely complicated with a lot of moving parts which are recorded more congested you will also not hear great separation or imaging. If you are listening to a nicely balanced track, then the JH5 does better. Imaging really isn’t bad at all either. It all depends on your music, at least that’s what I’ve come away with. All in all, I’d say that separation and imaging is about average. Probably what you should expect from a V-shaped hybrid set under $100. It’s fine, not a separation or imaging king but it’s fine.Detail Retrieval
I think you can pretty much copy everything from the last section and paste it here and simply swap out “separation” and “imaging” with “details”. The detail retrieval really isn’t bad at all. You don’t have this ultra thick and syrupy sound. The sound isn’t overly atmospheric and laggy. Transients are decent, especially as you near toward the top of the mix. I’d say they can range from slightly below average to above average depending on the type of music or genres you mostly listen to. More complicated stuff will sound slightly complicated. The mid-bass is boosted on this set and so any track which features this area of the mix will likely come across less detailed. The truth is, the JH5 wasn’t tuned to be a detail beast. It just wasn’t! This is a set that was tuned for fun and musicality. It was tuned to simply put into your ears and jam out. This set is not a monitoring set, and it isn’t analytical by nature, it’s fun, it’s full, it’s boomy and the JH5 isn’t meant to resolve every last detail. That said, it honestly isn’t that bad, for what it is anyways.
Comparisons
CCA Rhapsody ($34-$51)
One of the best surprises of 2023 came in the form of a hybrid iem from none other than KZ/CCA called the CCA Rhapsody. I reviewed this set and gave it very high marks. The Rhapsody is a 2DD + 4BA hybrid iem that you can now get as low as $34 at KZ-Tws.com. Again, a huge surprise folks. This is a set with a very appealing build, look, and sound, and it even comes with dip-switches to alter the sound to suit your tastes. In truth, CCA could’ve sold the Rhapsody for quite a bit more money and if I’m being totally transparent, I don’t know if the JH5 is any better at all. If the Rhapsody suits your preference perfectly then I don’t think it’s even a question.
Differences
First off, the Rhapsody is a huge iem. A bit larger than the JH5. As far as build quality, I feel both are great and neither is “better” for me. Maybe the edge goes to the JH5 but it’s by a slight margin. The look of both sets is dope and again, I couldn’t choose which is better looking. Most certainly the JH5 has a far better set of accessories. Not even close actually. The JH5 has many more tips, it has a case, and the cable is leagues better than the cheap KZ cable. Perhaps this is the cost difference. Then again, KZ/CCA originally had the MSRP set around the $70 mark and quickly went down in price. So, take that for what you will. Again, the Rhapsody actually has dip-switches which do work very well to add or take-away bass emphasis. The sound can change pretty drastically in tonal color and fun factor. The JH5 is easier to drive.Sound Differences
Both sets offer a warm and smooth sound with less of a regard for details and truthfully, they sound a lot alike. Again, depending on the Rhapsody’s switch settings (damn those switches, they make reviewing such a BEAR). I am choosing (for comparison’s sake) to use the switch setting DUUD which is about as balanced as the Rhapsody gets. This set can get roughly up to an 8db bass swing depending on settings so the differences can be large between the two sets.Sound cont…
Anyways, I find the JH5 has the more solid and dense bass region by a small margin with a bit more sub-bass depth and extension. Of course, I could use UUDD and the Rhapsody all of a sudden has more sub-bass brute authority. The JH5 is a bit more transient tight with better definition in the bass over the Rhapsody in any switch setting except UUUU. The midrange on the JH5 is also warmer in the low-mids and more sparkly in the upper mids. Of course, I could change the switches on the Rhapsody and turn the tables. Both sets are only slightly recessed with a smoothened sound altogether. They are very much alike in that regard. However, I notice the Rhapsody can have a hair (a thin hair) better cohesiveness between drivers. The Rhapsody has less low-mid body and better upper-mid note weight. In truth, I’d probably say that the Rhapsody is the better set in general for vocalists. The treble of the JH5 is more precise and has better detail retrieval to my ears with better extension into the upper treble.Further thoughts on this comparison
I’d probably say the CCA Rhapsody is the more versatile iem of the two. I have no doubts about that. Does that make it better? I wouldn’t say that. The Rhapsody is simply pleasing across the board and is one of the better sets ever made by the KZ/CCA machine. I cannot take anything away from the JH5 though, and it’s hard for me to say that one is better than the other. However, I do feel that the Rhapsody would generally please more listeners and is more cohesive, just as musical, and has a slightly larger stage. However, the JH5 has a bit more energy depending on switch alignment as well as a bit deeper bass region to my ears. Both sets are very good, but the Rhapsody is a bit cheaper too.Truthear Hexa ($79)
The Truthear Hexa was a huge hit within the past year with many folks clamoring to get their thoughts out concerning it. Of course, it is quite polarizing and so many folks also didn’t completely appreciate the Hexa as much as others. However, I was able to review this set and can entirely appreciate this set for what it is. I can enjoy darn near every sound signature (thankfully) and can see the beauty in what Truthear was able to create with this set. The Hexa is a four-driver hybrid iem (1DD+3BA) that is a great set for listening to music as it is intended and it’s a fantastic palette cleanser type set. Most certainly the Hexa will not appeal to a huge amount of folks precisely due to its tuning. That said, if you enjoy a balanced neutral type of replay, then you won’t find much better than the Hexa under $100.
Differences
Starting with the build, the Hexa is an all plastic iem with a unique and slender build. It has a nice feel for what it is but the JH5 is built more robust in comparison. The JH5 is quite a bit larger in sheer size as well. The look is always completely subjective, but from my vantage point I do feel the JH5 is the better looking iem. You may disagree. The Hexa and the JH5 have a nice unboxing, and both come with a plentiful array of tips, nice cases (I like Hexa’s case better), but the JH5 clearly has the better cable. Both sets are easy to drive from most any source, but I do find the JH5 a bit easier and a bit less picky about source pairing. However, I also feel the Hexa scales better with some added juice.Sound Differences
This is the definition of a “preference battle”. Two very unlike iems with very different tunings face-off against each other. The better set will be completely determined by what your preferences are. The JH5 is warmer sounding set while the Hexa is almost flat neutral with only a very slight tinge of warmth. Between the two, the JH5 is fuller sounding, better note weight, smoother, more musical, more 3D, and more fun. The Hexa is much cleaner, more resolving, yet also more relaxed and easier over long periods, better detailed and with better imaging capabilities and a better separated sound field. The JH5 bass is much deeper, warmer and much more authoritative. In contrast, the Hexa’s bass is tight, more defined with more agile transients, but also a bit softer. The midrange of the Hexa is thinner, more forward and just as smooth. The JH5 has heftier and more realistic note weight. I also find the JH5 to have a bit more shimmer in the upper-mid area. Between the two the Hexa is much more relaxed and smoothened up top whereas the JH5 is emphasized more in the treble with better extension, but also less refined and not as clean sounding. Details emerge easier on the Hexa, partially due to the more balanced sound. But also, because the Hexa is simply more resolving and more open sounding with better separation to help those subtle details show forth better.Further thoughts on this comparison
These really are two entirely different sounding sets and both very good for what they are. The Hexa is such a clean listen and so very polished in certain areas. However, the Hexa isn’t nearly as energetic and fun. The Hexa doesn’t have the musicality and emotionally adept sound as the JH5. Again, the JH5 is the more fun iem. The Hexa is the more refined, mature sounding, and more audiophile. I like them both as both iems serve a different cast of hobbyists. Actually, I like everything, so I don’t count.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Fiio JH5 ratings below, that would be $50-$100 hybrid style iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $50-$100 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
–Build Quality: 8.2 Built well but nothing out of the ordinary.–Look: 8.7 Very nice-looking set.
–Accessories: 9.3 Nice package for the price.
–Overall: 8.7
Sound Rating
–Timbre: 9.1 Nice timbre for a <$100 hybrid.–Bass: 9.5 The bass is big, tight, punchy.
–Midrange: 8.1 Either amazing or… Not.
–Treble: 8.5 Relaxed but well-tuned treble.
–Technicalities: 7.4 Not the JH5’s strong suit.
–Musicality: 9.3 Musicality is good for what it is.
–Overall: 8.7
Ratings Summary:
The ratings above make sense to me, of course I’m the one who rated this set. Have I told you that ratings aren’t a good way to scale how good or not good a product is? There are so many variables. Especially in this hobby. The range of variables is almost endless. Hence the need for me to somewhat explain myself in every review. If I were critiquing my own rating section I would first start with the “treble” rating. Some of you will say I’m out of my mind and I’m okay with that. I find this treble to be deserving of the lofty “8.5” rating I bestowed upon it. The JH5 is tuned with a nicely crisp treble that is nicely extended and fairly clean, but I could certainly see treble heads saying I’m nuts so, keep that in mind. The rest of the ratings pretty much speak for themselves. Maybe the “bass” rating will throw some folks off. To me the JH5’s low-end is wonderful. Yes, it’s more emphasized and not as technically astute, but it is tight for its larger girth and rock solid at attack with a very nice density that is satisfying to me. So, I could see some folks getting on me that there is no way it deserves to get a “9.5”. I think it deserves this because for what the JH5 is, the bass is probably the star of the show.
Is it worth the asking price?
The $79 question. I’ve thought about this quite a lot, believe it or not. If you would’ve asked me this question a year and a half ago, I’d say that the Fiio JH5 is a price point buster. No doubt about it. It is an awesome set to me that I’ve grown to love. Yes, I said “love”. There is so much to like for simple casual listening. However, I cannot agree that the JH5 is worth the $79. Not now anyways. There are just too many sets which are simply… better. I’m looking at this question from a panned-out, long-arc, whole market perspective. Now, would I personally pay the $79 for the JH5? Yes, I would. Over and over again. I think this set sounds great for my personal enjoyment. The thing is, I don’t review to only my preferences. Obviously, I have some bias at times, but I try to think of every type of consumer, if possible. I’m not always very correct in my assumptions but I try. With that thought process in mind, I can’t say the JH5 is really worth the $79. In general, there are better iems. Fiio should’ve probably priced this set about $20 cheaper around $59-60. However, for folks like me who love the sound I’ll tell you why the JH5 may totally be worth it.The Why…
This is for ME now. For me the JH5 is worth it because I love the look of this set. I love the understated, simple but yet sleek appearance. It’s solid, it feels well built. The accessories are some of the best in the price point, hands down. Great cable, weird but cool case, enough tips. Yet as always, it’s the sound that drew me in. I love that big presence of macro-dynamic fullness. I love that awesome bass that rumbles yet never comes across sloppy, ever. There are times when the vocals sound like the JH5 should cost three times the price. Also, you’ll never hear a strong glare or pierce on this set. It is smooth but clean, lean-lush but solid in its note weight and never sibilant. My music just sounds fun. Also, the sound is actually very clean, even with the smoother cadence and note articulation. It isn’t muddy or veiled and that to me is great when you also have a solid foundation of bigger bass. I say that but I also would say that the bass doesn’t overpower the mix. There is somewhat of a dynamic balance happening here which is nice… for me. Also, details aren’t that bad either.
Conclusion
To conclude my full written review of the Fiio JH5, I feel this is a solid offering under $100 for anyone looking for possibly their first hybrid iem. There are a couple small issues but overall, I give this set a passing grade (whatever that means). Is it priced a tad too high? Eh, maybe. However, the JH5 hits a sweet spot for my personal tastes at times and I really enjoy it. I think Fiio did a very nice job here and I’d love to see them refine this tuning a bit more. The foundation is there, it’s laid, now they simply have to reign in a few issues I’ve described. Let’s put it this way, the gap between the JH5 and the other good hybrids under $100 is very small. Sometimes we forget about this. The best isn’t really “that much better”. This is a game of subtleties and small incremental upgrades which separate the good from the great. That’s it. Anyways, personally this is a dope set. However, I could certainly see the many folks not totally in line with that.Other perspectives
As always, I need to ask you to get other perspectives pertaining to the Fiio JH5. It will only benefit you and is well worth it. We aren’t all the same folks. We all have different tastes, not all reviewers even review the same, we have different gear, different music libraries, different abilities to hear our music and we all haven’t been down the same journey in audio. All these will push and pull our thoughts in different directions. That said, I think this is coming to a close. Please take good care, try to stay as safe as possible, and always… God Bless!
Aful SnowyNight Review
Aful SnowyNight
Intro
Hello, this is my full written review of the “Aful SnowyNight” from the very competent and highly competitive audio brand, “Aful Audio”. The SnowyNight is Aful’s first dongle dac/amp and was provided to me by another very highly competitive outfit… “Hifigo” in exchange for a written review and feature at Mobileaudiophile.com. The SnowyNight comes to us from an audio brand (Aful) that doesn’t seem to make mistakes, or at least does everything within the framework of their understanding and expertise to create products that truly compete for your dollar.Aful Audio
This highly talented brand actually began their journey back in 2018 when they quickly began setting up their lab and by 2020 they had procured three patents! That’s saying something folks! By 2022 the Performer series was off the ground with the release of the Performer 5, followed shortly thereafter by the Performer 8, and after much R&D the MagicOne came to us. Talk about a startup. This company went from relative obscurity to one of the big players very quickly.I’ve reviewed a couple of Aful’s products. The first review I completed was for the Aful MagicOne (MagicOne Review) and I couldn’t have been more impressed folks, truly a standard bearer for anyone seeking an iem that has a unique driver configuration and also… Sounds truly fantastic! A couple months later I was able to complete another review of the Aful Performer 8 (P8 Review). What a talented iem the P8 is?! Another highly competitive set. Aful also crafted the very well regarded Aful Performer 5 (Mahir’s P5 Review) which took on the $200-$300 price point and one I use regularly for comparisons.
Impressive
I’ve been very impressed by this brand folks, in truth… it’s hard not to. So often we are inundated with brands that seek out a “quick dollar” and pumped-up promises rather than being truly original, imaginative, and innovative. Like I said in my past reviews of Aful products, this is a brand that doesn’t seem to be okay with being the “status quo” within this vast rabbit hole of a hobby. I also realize that this is beginning to sound like a commercial for the brand, sorry-not sorry. I don’t mind giving praise to those who deserve it. Remember, this is all my own subjective thoughts and opinion. I think it’s about time we get into this review of the SnowyNight. I will try to answer “if” and “how” the SnowyNight is set apart in its respective price point as well as explain this product as best I can. Let’s get into it, the Aful SnowyNight everyone…Non-Affiliated Purchasing links:
–HiFiGo–Aliexpress
–Amazon US
–Amazon JP
Disclaimer:
I received the Aful SnowyNight from HiFiGo in exchange for a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This dongle dac is a sample device. HiFiGo has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to HiFiGo and thanks for reading.
Full Review can also be found HERE
Gear used for testing
–Aful MagicOne–Yanyin Canon ii
–Simgot EA1000
–Fiio FH9
–Hidizs S9 Pro Plus
–Moondrop Dawn 4.4
Packaging / Accessories
The Aful SnowyNight showed up at my doorstep in a very small box, nothing grandiose, nothing wasteful, or over the top. Aful keeps it classy folks. Covering the black box is a sleeve with what looks like a line drawn picture of the SnowyNight with the name above it in block letters. On the back you’ll find some specs for the unit and that’s about it. Once you remove the sleeve, you’ll find a hard cardboard black box with a glossy black Aful logo in the center. Remove the box lid and you’re presented with the SnowyNight in all its beauty staring back at you. Surrounding the SnowyNight is the usb type-c data cable looking very premium. That was my first thought. This isn’t just another dongle dac folks, but more on that later. This is a non-wasteful and very simple unboxing, as it should be. 
USB Type-C Cable
Usually, I wouldn’t create an extra section in my dongle reviews describing the type-c cable. However as far as Aful is concerned the type-c cable is actually a selling point. In this case, I do agree. The cable I’m referring to is a 6N Monocrystalline Copper Cable with what is said to have improved signal conductivity and power transmission from the usual OFC cables in the market. Aful was trying to figure out how to improve this weak point of the data chain, that’s when the light build went off.
Improved
Aful knows, just like most of us, that desktop style digital audio signal from coaxial transmission is better in terms of clean signal transmission compared to optical, and obviously better than USB (as seen in most dongle dac/amps). Again, this is the area that Aful sought out to try to improve to the best of their ability. A mobile & portable situation is how most of us will use the Aful SnowyNight. This transmission is created through the USB interface and Aful decided to try to mimic a coaxial/optical type sound as best they could as it is best to improve the connection at this integral point in the chain. In comes this new cable. Aful actually offers this type-c to type-c for Android and newer IOS devices, or the lightning port on IOS devices.Better than standard cables
The cable provided in the packaging is a gorgeous cable, roughly 4 inches long, black fabric, and stainless-steel strain reliefs that do a wonderful job of making this cable feel premium. It’s the little touches and stylistic aesthetic stuff that can make something look either cheap or completely dope. Anyways, Aful professes to have achieved completely lossless transmission by improving the speed and accuracy of this point in the chain. With improved audio signal software and actual “hardware” improvements Aful has achieved improved “data packet loss” as well as “data delay” which Aful states is far superior to standard usb cables. Said to bring audible improvements in high frequency resolution and the sound field scale which Aful describes as very close to a coaxial or an optical signal.
Specifications
Specs：-
– Name: SY01 or SnowyNight– DAC Chip: 2xCirrus Logic CS43198
– PCM: 32bits-768KHz
– DSD: DSD256 DOP256
– USB Type: Type-C USB2.0
– Headphone interface: Dual Interface, 3.5 single-ended + 4.4 balanced
– Output frequency response range: 20HZ-20KHz
– Signal-to-noise ratio:
> 3.5 single-ended = 125dB
> 4.4 balanced = 130dB
– Noise floor:
> 3.5 single-ended = 1uV
> 4.4 balanced = 1.5uV
– Dynamic range:
> 3.5 single-ended = 125dB
> 4.4 balanced = 130dB
– Operating voltage range: 4.2V~5.3V
– Line output level:
> 3.5 Single-ended:
> Low gain = 1Vrms
> High gain = 2Vrms
> 4.4 Balanced:
> Low gain = 2Vrms
> High gain = 4Vrms
– THD+N:
> Single-ended = <0.00037%(1kHz@32Ω)
> Balanced = <0.00037%(1kHz/-6dB@32Ω)
– Impedance: 32Ω
– Power output:
>3.5 single ended= 140mW
>4.4 balanced= 300mW
Build / Design / Internals
Build Quality
The build quality is obvious here folks. Certainly, up to the standard of a high quality and premium level dongle dac. Made of pure alloy, aluminum if I was guessing. I don’t see anywhere that this info is available as to exactly what the alloy is but just know that it feels very robust and solid in hand. I love the cold feel of alloy, it just gives off a strong feeling or a durable feel to me. On the front you’ll see a two-level design, skinnier closer to the usb-c connector and getting slightly fatter (roughly ⅛” fatter) about halfway down the device. At the fatter side on the SnowyNight, you’ll see a dual interface 3.5 single ended port as well as a 4.4 balanced port. Both offer secure connections. I have no fear of failure down the road. I have seen a lot of these dongle dacs and I feel that the SnowyNight is certainly built to the level of its price, without question.
Buttons
On the left side of the SnowyNight you’ll see “+” and “-” buttons representing “volume up” & “volume down”. The buttons give off a nice haptic feel when pushing them in. I love a good click folks. These buttons provide just that. These buttons actually do way more than I would’ve thought. Of course, you can change the volume of the device itself only (which is fantastic) by single presses in either direction. You can also control the low and high gain from the buttons (more later), change UAC1.0 or UAC2.0 and set different filter modes from the device.Design
The SnowyNight has a very clean build with a lot of straight lines, 90-degree angles, and structurally sound all the way through. So, the build is great. Also, the design of this unit is pretty sweet too, friends. The SnowyNight is all black yet on the topside of the unit is a sweet design of snowflakes covering half of the device, or the skinnier portion of the SnowyNight. This is actually the exact design pattern used on Aful’s beautiful MagicOne earphones. Together they look very sharp. In the middle of this design is the indicator light which is there to tell you all kinds of info (I’ll get to that later). However, the contrast in the design against the black of the unit itself is very classy and cool. On the other half of the SnowyNight is the name “Aful” with the words “Audio Engineering” under it. On the back of the unit, you’ll see the device name “SnowyNight” with the audio transmission specs imposed like this: 32bit/768khz DSD256. I want to also state that the usb-c cable looks so rad attached with the stainless-steel fittings. It hard to speak on something like this in the correct way without going too over the top but I really am impressed with both the build as well as the design aesthetic.Internals
Inside of the Aful SnowyNight they added in two (dual) upgraded Cirrus Logic CS43198 deciding dac chips. It’s nice having dual chips of this quality and the differences are audible to me. The SnowyNight is capable of 32bit/768khz audio PCM transmission and DSD256 which is another feather in the hat of this little device. The Internals allow the SnowyNight to have output frequency ranges from 20hz to 20khz and an operating voltage from 4.2v to 5.3v.you get a great signal to noise ratio as I mentioned above in the “specs” section of 125db on 3.5 single ended and 130db on 4.4 balanced output. The SnowyNight also has dynamic ranges of the exact same numbers of 125db on 3.5 single ended and 130db balanced. This little device also has nice THD+N ratings of single ended= <0.00037%(1kHz@32Ω), Balanced= <0.00037%(1kHz/-6dB@32Ω). Also, the SnowyNight is capable of some high output and driving power for a dongle dac. Maybe not unprecedented, and we have seen higher values for less, but the SnowyNight can get up to 140mW @32ohms on single ended (high gain) and 300mW @32 ohms on 4.4 balanced (high gain). Folks, this is a talented device! Truly a competitor in the market.
Features
Low/High Gain
I’ve already spoken on this, but I figured it is a “feature” of the device so please just skip by if you must. Once again, the SnowyNight has the ability to switch between low and high gain from the left side volume +/- buttons. By simply tapping them both at the same time you can very easily and quickly change gain values on the unit itself. Again, this isn’t the first time we’ve seen this, but it is a novelty in the market and great to see. How nice is it that I can quickly add or take away some of the output from this device? I’ll answer that, um…it’s really nice. All you need to do is press both the +/- buttons at the same time and the indicator light will blink letting you know that you did indeed change the gain level. The amount of gain is substantial enough to provide an obvious power gain or reduction and the change is immediate. Single ended low gain is 1vrm, and high gain is 2vrms while on balanced you get 2vrms on single ended and up to 4vrms on high gain. Very nice.UAC1.0 / UAC2.0
Another nice thing you can do with the buttons is change from UAC1.0 to UAC2.0 and vice versa. All you have to do is hold the “+” button while the unit is powered off. Keep holding it and plug the SnowyNight in your phone, dap, tablet, computer through the usb-c port and wait until the red indicator light flashes. Once you see that just let go and you’ve switched to the desired mode. So, the buttons work somewhat like multifunction buttons as well as their obvious use. By the way, I adore this button setup. Being able to switch UAC1.0 & UAC2.0 at the device is huge for many folks who are gamers etc. For instance, my son would certainly need this operation for his Nintendo Switch and other devices he has which would otherwise not make any sound at all. This isn’t necessarily groundbreaking as we’ve seen it in the past, but it is not the norm and very easy to operate with the SnowyNight. Another nice job Aful!Filter modes
The Aful SnowyNight also comes with up to five different PCM pulse filter response modes. I don’t know what each one is yet as this info has not come out, or at least I haven’t seen it yet. I will edit this review later when I do know. Anyways, to change filters all you have to do is hold down the +/- together for over 1 second to activate the next filter. To be honest, these filters never radically change much, but with a very discerning ear you can spot subtle tonality shifts and transient behaviors. It’s something nice to have rather than not. Also, some of you may be able to tell the difference easier than others. I was able to notice the slightest differences, but it isn’t enough to really get excited about. It’s a good feature though.Driving Power
As far as driving power, the Aful SnowyNight has more than enough output power to drive most any iem out there. Having upwards of 140mW and 2vrms on single ended is actually quite a lot actually and really shines on any of my iems. I don’t have any beefy over ears to test so please forgive me for that. Of course, I listen almost e tiredly on balanced mode using the 4.4 port and again, the driving power is up to 300mW and 4vrms on high gain. This means that there really isn’t any iem that is going to be a chore to drive. I no longer have my Final Audio E5000 to test the ability for the SnowyNight to drive such a set and so again, forgive me. All I can test with at the moment is my iems. That said, on balanced listening the SnowyNight should be able to drive a vast amount of over ear headphones. Of course, you have to be somewhat reasonable as to how well you expect a small dongle to be able to push your high impedance cans.
Sound Impressions
Note: All critical listening impressions are based after roughly 50 hours of playtime (give or take). This review was conducted while listening to flac or better files which are stored on my devices. I mainly used the three earphones I mention below but I also used many others during the course of my time with the S9 Pro Plus.It was a good sign to see the dual dac chips implemented in the Aful SnowyNight as well as the good amount of driving power on hand all for the low cost of $109. Folks, this is a nice setup. For instance, the exact same chips are used in the Aune Yuki which would run you a cool $169 so, the price is certainly a huge “Pro” for anyone looking for a solid dongle dac. There are a couple others with this arrangement as well and they all perform pretty well. Of course, dac chips are not the only variable deciding on how a thing sounds. Also, the SnowyNight still has to actually sound good and compete sonically for your dollar. No worries, folks, the Aful SnowyNight sounds very good for the price. Certainly, the SnowyNight will turn your smartphone, tablet, or however you choose to use this dongle into a great hi-res portable listening device.
Great for the price
The first thing I noticed about this dongle, which honestly set it apart from the other dongle dacs that I have on hand, is that the sound is very open and musical, closer to neutral with the most subtle shades of low-end warmth and smoothness. It has a nice 3-dimensional spatiality as the SnowyNight forms a more holographic type of presentation to me. Smoother rather than edgy or coarse, like some ESS type dac chips. No odd timbre artifacts or metallic timbre but a more naturally neutral sound with natural note weight. There is a delicate intricacy to note definition and effortless musicality, yet not so much to drown out details or clarity and never harsh. You also won’t hear any exaggerated peaks with iems which are borderline shouty themselves. It also won’t magnify or overemphasize the low-end either but instead reinforce these regions with natural dynamics and great timbre. Basically, the SnowyNight will not color your iems or over ears in any direction. Like I said, mostly neutral with subtle shades of warmth. Note definition is very nice although slightly less transparent than some dongle dacs which offer a drier presentation. I consider this a good thing. The SnowyNight is not dry or analytical and does offer a good note body with density to each note. Extension is pretty nice both ways with pretty nice dynamic range which extends the stage in an open and 3d manner. To me this is one of the better sounding dongle dacs priced near $100 that I’ve heard.
Sound between the 20’s
Bass Region
The bass doesn’t color the low-end of any of the sets I’ve tested with it. You can tell this on Aful’s own “Aful MagicOne” as the SnowyNight takes an otherwise pretty laid-back bass region of the MagicOne and simply gives it a more concentrated punch. At least from something like the Moondrop Dawn 4.4. Honestly the bass does come across a hair denser than on less quality sources. Not to the degree of my Shanling M6 Ultra or more expensive sources but this should be expected. I found the SnowyNight can dig pretty deep with good extension into the lowest of lows and plenty of haptic rumble when paired with a rumbly set. However, I do feel that the SnowyNight isn’t necessarily adding any real color to the region. A non-bassy set is not going to all of a sudden “bang” in your ears. There is perhaps a slight emphasis. However, what this device does do considerably well is adds a clean note structure and note density.The bass region is not the warmest I’ve ever heard and so you won’t have to worry about the Yanyin Canon II (for example) becoming warmer or muddier in the bass region than it already is. In fact, I found the SnowyNight to clean up this region with a concrete note body and nicely tight attack thru sustain for a $109 dongle dac. Clean, tight, defined, extended well and punchy with enough slam and grunt. Not overdone though. Again, this device is not going to add extra emphasis except a slight lift in the sub-bass area. For the price (this is key) I find that the SnowyNight really does compliment most sets that I use.
Midrange
The SnowyNight has a midrange that is slightly more forward, but not to a fault as vocalists sound well composed and with good presence. Surely this is a talented little device, and the midrange is a huge key to that. Vocals of both males and females have a very nice presence in the mix. They are smooth all the time but also there is a dash of controlled vibrancy which never spills over into glare. Unless of course you are listening with a set which runs a bit hot. Once again, the SnowyNight is not going to color your iems or headphones in any which way, but it will add a black background and good clarity with a feeling of openness and dynamics. The SnowyNight isn’t going to cause fatigue or add any elements of sharpness or shout either. I hear a very well controlled and resolute midrange. Again, I hear natural note weight, not thin, not thick but natural, with an underlying vibrance which coaxes fewer dynamic sets to feel a bit more engaging in that regard.Musicality
However, the most impressive part of the midrange to me is the musicality in this region without losing out on the subtleties or micro-details. SnowyNight has a concentrated note framework or body. It also has a balanced potrayal of “technical meets melodious” or “mellifluousness say hello to precision”. I should also point out that it’s difficult to slap the “musical” buzzword on a source device when each and every iem or over-ear can affect just how “musical” this source device actually is. I’m speaking in generalities garnered through the many hours of experiential listening using many sets attached to the SnowyNight. It’s more musical (in general) with a midrange that has very nice macro-dynamics and a pleasingly organic timbre.I also hear very good space between instruments and vocals giving each element of the stage room to exist, or room to breathe. The SnowyNight achieves all of this while also coming across smoothened and wave-like. Again, never colored so much to be perceived as harsh or knife-edged at the crest of midrange notes. I really like this dual CS43198 dac chip setup. They provide an almost analogue neutrality with only the slightest shades of warmth. Enough to conjure the perception of body. Depending (of course) on what is attached to the SnowyNight. There’s also well-defined depth for layering and good clarity. Also, the smoothness is a nice buffer, and that sense of body is persistent across the midrange. Never really bright as the SnowyNight never crossed that line while maintaining a subtle warm/neutral tonal color. It’s simply nice folks.
Treble Region
The treble is the same as the rest of the frequency with a smoothly refined sound. The SnowyNight treble is extended nicely with a sweeter disposition and naturally delicate timbre. This is not an oversaturated treble region and certainly isn’t harsh or peaky. The SnowyNight doesn’t have any undue brightness that is going to embellish your already bright sounding sets. For instance, the Simgot EA1000 didn’t all of a sudden become harsh up top to my ears. I found the SnowyNight has treble notes which may be perceived as slightly blunted rather than crisp. Not that the SnowyNight has anything to be ashamed of either. That said, I don’t feel the SnowyNight treble region lacks in the details department either. Resolution is quite nice from what I can tell, and detail retrieval seems to be very nice across the iems I used for testing.
Technicalities
Soundstage
The soundstage is very wide and tall with evident depth. This is a holographic sounding stage with a vaster and more immersive feel to it. Obviously, your iems or headphones will have a lot to say about this, but I don’t feel that SnowyNight takes anything away from any set I listened to. In fact, the SnowyNight was only a benefit in this regard. So, the stage is pretty vast and wider than average, tall, and with great depth of the sound field. Please trust that not every dongle dac can add a sense of space like this. Also, the SnowyNight does have some competition that also has a nice sized stage as well. This isn’t the only device performing this way. Still, I was immediately impressed by this device.Separation / Imaging
I can’t stress enough that when reviewing a source device all I can truly speak on is how the SnowyNight will add or take away from your iems or over-ears sound signature. But, for the most part the SnowyNight seems to have fantastic spacing between elements of a stage. Yes, it is a smoother sounding dongle dac but it really doesn’t take away from how well Aful was able to create a sense of air and openness and well-defined sound images in my mind. Imaging follows suit with awesome imaging for a $100 dongle dac. I heard no obvious issues. All the SnowyNight has ever been a benefit to any set I used.Detail Retrieval
Again, the SnowyNight has a refined, clean, naturally resolved but smooth note definition and timbre. Notes are a bit more blunted and not knife edged or crisp and so one would think that this would detract from the SnowyNight’s ability to resolve the finer details in your music. I suppose to an extent this is true and certainly there is better resolving dongle dacs for the price. However, SnowyNight is actually very nice in this regard. Again, the SnowyNight has a very good mixture of musical and technical to my ears.Downsides to the sound of the Aful SnowyNight
If I were to come up with some drawbacks of the Aful SnowyNight there would only be a couple minor subjective qualms that some folks may have. I don’t, let’s just make that clear. I really enjoy this device. Anyways, the sound is smoother, it’s clean and it’s resolute but that smoothness is a hair more rounded which takes away some of the crispness which would ultimately be defined as… Details. Not that you lose much but you do have to be conscious of what you pair with this device. Also, for those who want a beefier low-end source, or for those who want a warmer source with even meatier note weight, you won’t necessarily find that here. Of course, whatever iem or headphone you use will also have its say about this aspect of listening. Still, the general tonality of the SnowyNight is closer to neutral with tighter transient shifts and very nice agility which comes across a bit leaner. Lean-lush rather than “lush”. That’s it, nothing else sound wise that I could point out as an issue.
Pairings
Note: I will make these short and speak in very general terms as I won’t go into crazy detail about each iem pairing that I used. I went back and forth on even adding this section, but I chose sets that I used the most while critically listening to the SnowyNight. Now, I actually used many more sets during this time, but these are the four which garnered the most of my attention and to me sounded the best. These are in no particular order. Again, I’ll keep this short as there really isn’t a whole lot to say. Aful MagicOne
Anyone who has used the Aful MagicOne (MagicOne Review) knows that this is a very hard iem to drive properly and to good fidelity. The MagicOne only has one full frequency BA under its hood but replays the entire mix wonderfully. I truly love and adore this set. One thing I know is the MagicOne is a chameleon of sorts, as to which source you use. As far as this pairing, you would think Aful made the SnowyNight just for the MagicOne because together they simply sing. You have the warmth of the MagicOne and the warm/neutral sound of the SnowyNight and it’s just dreamy. The SnowyNight tightens and cleans up the entire mix of the MagicOne in my opinion much better than other less quality dongle dacs. The MagicOne has a prevailing warmth which covers the mix and the SnowyNight does a great job of contrasting that warmth. The SnowyNight doesn’t color the sound to any great degree at all but instead just cleans, tightens, adds natural note weight and enough driving power to awaken that harder to drive single balanced armature driver.
Simgot EA1000
The Simgot EA1000 is semi particular as to what you pair it with. I feel a dynamically warm to warm/neutral pairing is nice with this set, among a few other factors. Which brings us to the synergy between the EA1000 and the Aful SnowyNight. I feel the EA1000 sounds very good on almost everything, but the SnowyNight seems to make it a hair cleaner lined and controlled. One thing I was happy to hear is that the EA1000’s warm/neutral tonality didn’t all of a sudden become unbearably shouty attached to this device. Of course, I didn’t expect that but, you never know. In more glaring and shouty tracks the SnowyNight didn’t embellish upon the EA1000’s bright spots in its frequency, but in fact made a very nice duo. Another fact, I liked the EA1000 paired with the SnowyNight better than my iBasso DX240 by quite a wide margin. All about synergy folks. The EA1000 sounds very refined as is but I love the smoother textured pinpoint control and black background.
Yanyin Canon II
The Yanyin Canon II is truly one of the best iems between $300 and $400. Just an awesome iem. I actually reviewed this set last year (Canon II Review) and fell absolutely in love with its fun, dynamic and clean presentation of my music. Paired to the SnowyNight didn’t change much, it just sounded nice. I suppose if there is any one area that the SnowyNight obviously outperformed other devices, I would say that would be the bass region. I’m speaking “obvious” here folks. It was obvious to me that the bass was obviously tighter than something like the Hidizs S9 Pro Plus, Fiio KA3, Moondrop Dawn 4.4 etc. Also, there is a density to this device in the bass range without over emphasizing it and very good extension down low and this is something that is noticeable to me. Also, there was a slight reduction of detail retrieval in the name of a non-offensive and smoother sound. I was okay with that. It sounds awesome. Of course, it isn’t the easiest thing going back and forth between devices, just trust me in that. The comparison section next was a “time chewer”. Anyways, tonalities pair together well between the Canon II and the SnowyNight and again, the sound just comes across cleaner.
Fiio FH9
One of my favorite iems that didn’t get enough praise, the Fiio FH9 (FH9 Review). The FH9 has a warmer sound and so the SnowyNight really did a marvelous job paired with it. There are a few things that I noticed. First, the bass tightened up even more than it already is and gave the bass very nice definition. Second, this is already a smooth set, but the SnowyNight just reinforced this without losing any clarity, definition, resolution or details. Not enough to speak on anyways. The clarity is outstanding for a $100 device and the dynamics turned an otherwise more laid-back sound into a set with a little cleaner pep. Obviously, there is more expensive gear that will outperform this dongle dac or “any” dongle dac for that matter. Still, in the realm of this portable type of listening, the Aful SnowyNight was a nice pairing with the Fiio FH9.
Final thoughts on pairing
Like I said, I really questioned even putting this in the review because there are so many factors which can alter the sound of an iem. Also, it isn’t the easiest thing to describe in this format. It’s something which you really have to listen to yourself and so I don’t know how helpful this was to you. Basically, I don’t know how beneficial it is to the consumer. Anyways, at the end of the day I feel the Aful SnowyNight pairs very well with multiple different tonalities in general. The sound is very neutral with just a hint of warmth and so that is a great starting point in my mind for a device which won’t really color your iems or headphones all that drastically. I honestly heard nothing that I thought was a negative as far as pairings goes with any of my iems, not just the sets i included in this review. To be honest, I really consider the SnowyNight as almost a chameleon which really just lets my iems be what they are.
Comparisons
Note: I will be very brief in these comparisons. I want to keep my word count down for the algorithm and so I will use very general verbiage when describing these differences. All comparison testing was done with the same set of earphones listening to the same tracks for an extended period of time.Moondrop Dawn 4.4 ($69)
The Moondrop Dawn 4.4 is a very capable dongle dac and one of my price to performance favorites. The Dawn 4.4 utilizes dual CS43131 dac chips and has enough power for most any iem and even some over-ears with 230mW @32 ohms. There is a lot the Dawn 4.4 does right, and I have thoroughly enjoyed this little guy.
Differences
First thing you’ll notice is that the Dawn 4.4 is a cylindrically shaped dongle dac whereas the SnowyNight is obviously not. Both are built very well but the SnowyNight has some huge advantages. For one, the Dawn 4.4 has a fixed cable of questionable quality while the SnowyNight has that amazing type-c detachable cable. Also, the SnowyNight actually has volume / multi-purpose buttons as well. I feel the indicator light is much better on the SnowyNight too as the Dawn’s indicator light is barely visible and tiny in comparison. As far as design, the SnowyNight is simply better. Unless you like stark white devices with no real artistic flare. The SnowyNight has low/high gain on the device itself as well as the ability to add or take away volume, search through sound filters etc. Also, the Dawn 4.4 only has a 4.4 port. Hence the name “Moondrop Dawn 4.4”. Lastly, there is a justified price difference between the two as the Dawn 4.4 comes in at a cool $69. Of course, Moondrop does make an app (IOS & Android) which is fantastic, something the SnowyNight doesn’t have.Sound Differences
To start, the SnowyNight has better driving power on 4.4 balanced by a wide margin of roughly about 70mW at 32ohms. Both devices have great timbre, but the SnowyNight has a more natural and dense note weight with a smoother overall signature. The Dawn takes an analytical approach with a dryer and more technically adept sound. Details are a pinch easier to discern on the Dawn but with less enjoyable timbre for me. The SnowyNight sounds better extended with better dynamic range to my ears, it has more profuse macro-dynamics and it simply has better musicality. To my ears the SnowyNight is better in almost all regards. Wider stage, just as clean a background, better note weight, even less harsh at times. I’d say that SnowyNight is definitely the more refined of the two with better extension both ways. Deeper and more dense bass, more melodic midrange and a more resolute and shimmery treble.Further thoughts on this comparison
At the end of the day, it will all come down to what you prefer. I wanted to add in devices that I feel are some of the best you can buy at slightly lower prices as I do feel it helps the consumer. The Moondrop Dawn 4.4 is a special device, but it is lacking basic stuff. The non-detachable cable kind of stinks and the lack of a 3.5 single ended output is also a strike against it. However, the Dawn 4.4 does compete sonically quite well. It simply isn’t as controlled, and the dynamic range suffers in comparison to the SnowyNight. Still, like I said it all comes down to your pocketbook. Certainly, I feel the price difference is worth the SnowyNight but both provide fantastic sound.Hidizs S9 Pro Plus ($89)
The Hidizs S9 Pro Plus “Martha” is one of my favorite dongles under $100. This is one which has gotten a whole lot of play time since my review during the fourth quarter of 2023 (S9 Pro Plus Review). The S9 Pro Plus comes with an ES9038Q2M dac chip and decent driving power of 138mW @32 on 3.5 single ended and 180mW @32 on 4.4 balanced. Truly a performer that I enjoy having in my collection.
Differences
These two devices are much more similar than the last comparison. Both devices are about the same size, but the S9 Pro Plus is a bit fatter and thicker. Both devices are really dope looking in my opinion. They also both are rectangular with a nice design. Truthfully, I don’t know which I like better as far as build and design is concerned. The S9 Pro Plus has an aluminum chassis and glass back and front plates while the SnowyNight is an all-alloy affair. Both are fantastic for their respective prices. Both have removable cables although I do feel the SnowyNight’s cable is of better quality. One thing that both have in common is volume and multi-use +/- buttons. Hidizs crafted theirs to appear like little volume wheels but of course they are only buttons. The S9 Pro Plus has less-rigid buttons which are much larger and a more haptic click when pressing. The only other big difference is that the S9 Pro Plus is sold for around $89 while for $20 more (give or take) you can get the SnowyNight.Sound Differences
Both sets have a slight warmth but cater to a mostly neutral tonal color. Perhaps the S9 Pro Plus is a hint warmer but that is seriously up for debate. The S9 Pro Plus has a beefier mid-bass but with a less defined note definition. The SnowyNight comes across cleaner, better separated and with a tighter yet still very satisfying slam. However, the SnowyNight has a denser and deeper extension into the sub-bass with better clarity. Honestly, clarity is better across the mix on the SnowyNight. The midrange performance of both devices is more forward and great for vocalists. I do feel that the SnowyNight has better midrange separation with a slightly more lean-lush note weight with a denser and more solidified note structure. Details are nice on both midranges, but the SnowyNight does bring out the subtle stuff a bit easier. The treble region has better extension on the SnowyNight and it also comes across more shimmery and has better control over the treble. These are very subtle differences folks. Technically I find the SnowyNight has tighter transients, better detail retrieval by a small margin but both devices have similar stage presentations. Both are great but the price increase is justified in my opinion.Further thoughts on this comparison
Folks, I really enjoy both of these devices. For $89 it’s hard to find anything flat-out “better” than the Hidizs S9 Pro Plus. It is a sweet looking device and has some great functionality too with one of the best builds in any price point. However, the Aful SnowyNight exists at only $20 more which, if you can afford it, I feel it’s warranted.
Is it worth the asking price?
When I found out that Aful was creating a dongle dac I knew it would be a well-developed and solid product. Like I said near the intro, this isn’t a company who seeks to simply make a quick buck. The Aful SnowyNight embodies this standard through-n-through. I hate to say something punches above its price but in the case of the SnowyNight it is an easy conclusion to draw. Especially when there is the Aune Yuki costing roughly $60 more but with the exact same dual dac setup and also, the SnowyNight has better driving power. In fact, the SnowyNight has almost the same output power on single ended as the Yuki does on balanced. Not to mention the SnowyNight is almost twice as powerful on balanced. Not that driving power is everything but… it’s something. Obviously, there are other factors that set a device such as the Yukk apart, or not. Also, the Yuki comes equipped with some other Internals which help to justify its price so please don’t think I’m saying they are equal. Anyways, Hifigo has this device for $109 and I’m sure there will be sales for even less. Without question, 1000% the Aful SnowyNight is easily worth the $109 that Hifigo is asking.The Why…
The reason why the Aful SnowyNight is worth the amount of $109 is because it could’ve been sold for even more. First off, the addition of the type-c 6N cable is a big plus. Also, the build quality is so blatantly obvious. Folks, this is a well built and solidly structured device. The onboard buttons and basic functionality of the dongle itself comes with no hiccups whatsoever either. However, it’s the immersive and engaging sound quality that sets this device apart in my opinion. I’ve had too many dongle dacs to list here folks. Ranging from $40 to $250 and honestly, the Aful SnowyNight is my favorite. I’m just going to put that out there. Also, it’s just my opinion. Still, the sound has a wonderful timbre with great dynamics and impressive musicality. Notes are clean with really great definition and the overall listen has some good resolution. In some regards the SnowyNight is even comparable to some of the mid-tier daps I’ve tried.
Conclusion
To conclude my full written review of the Aful SnowyNight, I want to thank HiFiGo. You can find the SnowyNight HERE (Non-Affiliated). I’ve had a great time reviewing this device as it has been quite a nice experience. I do feel that the SnowyNight can stand up to just about any set in its price point with relative ease and I also feel that $109 is a fantastic price. I personally recommend this device and hope to see some of you rockin’ it in the near future. It’s nice folks. Different perspectives
As I always do in each and every review, I must ask you to please check out other thoughts about the Aful SnowyNight from other reviewers as it’ll help you to make a purchasing decision. $109 is a lot of money to many people and so I do hope you’ll do your homework. We are all very different friends. We have different gear, music libraries, likes and friends, and we haven’t all been down the same journey in audio. Take the time to research a bit and you’ll be better for it. I think this review is about done so please take care, stay as safe as possible and always… God Bless!
ernie633124
another great review Mr. Chris
Ceeluh7
Hey thank you brother!
Simgot EW200 Review
"Raising the Bar"
Simgot EW200 “Maze”
Intro
What’s up friends, I have with me today the “Simgot EW200”, which is Simgot’s latest mid-budget iem coming in at roughly $42. I realize that I’m a bit late to the party with this review. Scratch that, I’m really late to this Simgot party. Still, I am considering this a “better late than never” situation. I’m actually just going to be upfront with you all, I really like what Simgot has been doing. Also, I’m not the only one. Literally, I can search “Simgot EW200 Reviews” and there is an avalanche of reviews with a tidal wave of praise. In fact, pretty much any Simgot review over the past year and a half will be like a Simgot parade of affection. Also, yes… they deserve it. I actually reviewed the Simgot EA500 last year and I absolutely adore that set. It was only my second time listening to a creation from the brand and I was hooked. How in the world do they create iems this good under $100? Shoot, under $75!Simgot
The audio brand “Simgot” has become a very unique outfit. Every last detail seems to be well thought out, from my vantage point anyways. The very name “Simgot” means “Simple & Elegant” which when I look at their earphones and audio devices, I don’t think I could come up with a more descriptively correct word. Yes, each and every device they’ve created has been what the name implies, simple and elegant. Even though not every design is all that simple. Still, it’s the sentiment which counts. Looking at their website we don’t get much of a history and so I won’t be able to rattle off founding facts or any kind of origin story. I will however be able to say with complete confidence that Simgot is able to artistically craft some of the best iems within their price points. So, it seems. But also, each end product is completed in such a way that the only descriptive word allotted to their products could & should be… Elegant.The Simgot EW200 has been out on the market for roughly about six months and sells for the low cost of only $40. It’s a single DD with a beautiful look and a tank-like build and I am more than happy to give my interpretations of this budget category earphone. So, without further ado, the Simgot EW200…
Non-Affiliated Purchasing links:
–Linsoul–Amazon
Disclaimer:
I received the Simgot EW200 from Simgot in exchange for a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a sample iem. Simgot has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to Simgot and thanks for reading.
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro Plus
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
It is hard not to be impressed with a Simgot unboxing. I think it’s just the thoughtful presentation they have with all of their sets which impresses me. There is a tasteful classiness to it. The smaller sized black box that arrived at my door has a sweet looking design on the front. There’s a cool looking sleeve which covers the black box with the theme of the EW200 displayed on it. In gold print you see the name “Maze” in large digital looking letters and under that is “EW200 High Performance”. Surrounding them are these glossy black patterns which resemble a Maze covering the whole of the box. I know that none of us care that much about the unboxing, but it does speak volumes about where a brand’s attention is at. If they have great attention to detail on the box it comes in, then it’s very likely they would have put some time into the design & tuning too.Nice package
Once you take off the sleeve and open the actual box, you’ll see the gorgeous EW200 looking all fly in the foam cutouts. Next to the earphones is a box labeled “accessories” which has… you guessed it… accessories. Inside is a soft microfiber type bag for carrying the EW200. You also will see the cable and eartips in this box as well. Very nice Simgot! For the price, this set is already ahead of the curve as far as budget iems goes. It is simply a nice package, and this really truly speaks volumes about the company as a whole. Think about it, folks! If they put care and effort and thought into the simple unboxing of a $40 earphone, how much more are they putting into the earphones themselves? Now, they have to get the rest right but at least it is a brand which seeks to provide the best experience possible. Nice work Simgot!
Eartips
Simgot includes three pairs (S, M, L) of eartips in the package. The included tips are some white silicone tips with a nicely firm outer flange, stiff stem and a narrow bore. These tips are perfectly fine for use with the EW200. It has a slightly brighter or vibrant sounding neutral leaning playback and so a narrow bore does help to pad down some of the brighter hues. I say that but then I go and do something opposite of that. I actually use the KBear 07 tips with this set as they simply fit my ears better. The 07’s have a semi-wide bore which doesn’t really add any spiciness to the upper-mid to treble region, but they will add some punch in the mid-bass. I suppose we shouldn’t be surprised to only see a few sets of eartips. This is a $40 iem after all.
Cable
The cable provided by Simgot is a very nice cable for the price of this set. I don’t know if you’ve seen some of the cables put into some of these earphone packages, but the Simgot got this one right. It is a lite cable, as in, it isn’t heavy. The cable itself is a 2-pin, 3.5 single ended silver-plated OFC copper cable with a white and yellow braid. Very nice looking and very usable. Again, Simgot understands the importance of a cable to us hobbyists. Granted, there are better cables in the price point (Rose Technics QuietSea etc.) but let’s not get bogged down by miniscule differences. The point is, the included cable is user friendly, not microphonic to a disastrous degree, and it sounds good with the EW200. Also, it looks nice paired with the EW200.
For balanced sources
Now, I did swap out the included cable for another very nice cable for use with my balanced sources. This should come as no surprise. I used the KBear ST16 “Crystal” white/blue cable. It looks absolutely great with the EW200. I love the mirror silver finish of the EW200 contrasted by the white and baby blue of the ST16. I am a visual creature folks, and I have to find good pairings aesthetically. This one is a good pair for a few reasons. First it looks sweet, second it feels nice to wear without any fatigue. Lastly, the sound pairing is very nice. I didn’t find the EW200 very cable sensitive at all as far as tonality goes… It’s a good match.
Carrying pouch
I’ll keep this short, Simgot provides a small microfiber carrying pouch in the packaging which is a nice pouch for its purpose. It doubles as a cleaner for fingerprints on the EW200 so, just be ready for that. Anyways, I like pouches actually better then carrying hard cases because I can put them in a pocket much easier and it doesn’t look completely stupid like a hard case does. I can fit the earphones & cable as well as a dongle dac and I do that with ease.
Build / Design / Internals / Fit
Build Quality
This is an easy paragraph to write. I mean, look at the EW200! Folks, this is a $40 iem! This set is built like a tank! The EW200 is an alloy set with a smaller shell and a flat faceplate. The body of the EW200 is crafted to seat perfectly in the ear. Made by way of casting and precision cutting the EW200 doesn’t have any flaws and is exquisite in its final build appearance. I honestly see no issues whatsoever friends. This set has a dual cavity structure, and you can see the two venting holes in each cavity to balance pressure internally. There is one small vent near the top and one small vent closer to the ear. This is a recessed 2-pin design, so keep that in mind when looking for replacement cables. All in all, great build quality for this iem. When we are seeing $40 iems with perfectly sculpted full alloy builds at prices under $50 I’d say we are in a great time for personal audio. Someone pat the designers of this set on the back please!
Design
One thing that will always hook me is a good design. I know some of you don’t care at all and so just skip this little blurb from me. I feel the Simgot EW200 is one of the best designed sets that we have seen from this price bracket. Obviously there have been some dope looking sets, without question. However, the sheer appeal & charm of this full metal iem is a perfect blend of masculine and effeminate design. The EW200 has a certain refinement to it, an elegance to it. I know that careful thought was put into the creation of this earphone. You simply cannot create something this simple yet ornate and it not come from the mind of a skilled person. I think that’s rad. Simgot has done this with all of their recent iems folks. I have a number of them with me and each has its own distinctly artistic style. Yet all of their sets have a sort of opulence or high-quality stateliness to them. This set is certainly no different.
Internals
Looking inside the shells (no I didn’t crack them open, it’s figurative), Simgot chose to use an N52 dual magnetic circuit within a dual-cavity acoustic cavity. Inside this housing they used a 10mm dynamic driver with a SCP (Silicone Crystal) diaphragm. Basically, this is a combining of LCP and DLC diaphragms to get the best out of both. Through what Simgot refers to as “Special material blending” they were able to harness the strengths of each material. It has been said that DLC diaphragms do have some slight glare in the high frequencies and so this method does tamp that down for a smoother result. Simgot incorporated three layers of tuning filters to exact the perfect mixture of Harman 2016 and Simgot’s house sound. Just know this, the driver is very good and the well dreamed up housing works wonders for the sound.
Fit / Isolation
The fit pretty nice for me. I don’t have to fiddle very much to get a good fit. I would say that Simgot made a set that will fit in most hobbyists’ ears without issue. Obviously, make sure to have the right eartips for a good seal and you should be fine. I actually really like the fit, no wear fatigue either as the EW200 are smaller in stature and not very heavy once seated properly. Isolation is about average. I don’t feel the EW200 are any worse or better than your average iem in the market. I can tell you that the isolation isn’t bad. So, there’s that.
Drivability
This brings us to “Drivability”. The Simgot EW200 is really an easy set to drive from most any source. Scratch that, this set is very sensitive. I didn’t find them too finicky on any source I have, that’s for sure. Even using them for a short period attached to the Fiio UTWS5 (50mw per 32 ohms) was an easy task and sounded great. The EW200 is rated at a low 16 ohms and a sensitivity of 126 db’s. If you didn’t know, that means this set is sensitive and easy to drive.Mobile Listening
You just read I used the UTWS5 and that was good. However, it isn’t the most spectacular source to use. I did do quite a bit of listening with the IFi Go Blu on 4.4 balanced. Obviously, the Go Blu has a ton of power, especially on balanced output, so driving them was a breeze. What I found awesome was the synergy of the neutral/warm dac chip of the Go Blu, CS43131. I found brighter or more neutral analytical sources were a bit too glaring at times. Like the Fiio KA3. So, I went with the Hidizs S9 Pro Plus quite a lot as well. It is another warmer but yet energetic sounding dongle dac which really blended tonalities nicely with the EW200. The Moondrop Dawn 4.4 was another great pairing. In fact, so long as I didn’t have a brighter and analytical source, whether it be neutral, neutral/warm or warm, I was fine and the EW200 paired well.
More juice, better quality source
Moving into the better-quality sources I have the Shanling M6 Ultra (AK4493SEQ dac chip) and the iBasso DX240 (ES9038Pro dac chip). Both devices output a ton of power. I used medium gain and never needed to go over 25/100 on the volume scale. I think low gain would be way more than enough. Once again, it pays to make sure that you are pairing the EW200 with a source which contrasts the slightly bright or vibrant tonality of it. That would be the Shanling M6 Ultra for me. I do feel the EW200 scales with power, to a point. You can’t just keep overpowering this set. Still, a little more juice does help to tighten the frequencies on this set. It is difficult to know if it’s the added power which helps the most or what I feel is really going on; the EW200 is simply being replayed on a better and more refined source. I think that is the deal folks. The EW200 will mimic the quality of what your source is. Thankfully I don’t have any garbage sources anymore.What do you need
If I were you, I would try to find a nice dongle dac. It doesn’t have to be $150. You can find some fantastic options under $70, shoot under $50 there are some good sounding dongles. Anyways, try to find a decent Dongle Dac with decent power and enjoy. If you don’t have that and cannot afford anything more than this set, I would venture to say you’d be perfectly fine using a mobile phone. This is a very easy set to drive.
Sound Impressions
Listening mostly with the Shanling M6 Ultra which has that lush velvet timbre or with the iBasso DX240 which is a little closer to neutral, I feel like I got similar results from the EW200. I hear a close to neutral sound that is lovely for such a low priced iem. I knew it the second I put this set in my ears and turned on the first song “Show Me How To Live” by Audioslave off their 2002 self-titled album. Right away the clarity and dynamics just jumped out at me. There is solidity, or a density to the dynamic structure of the notes, yet in a thin and concise note body. Those drums have elasticity to them and the rebound from the drum blast has realistic harmonics. The crest of each note at attack has a compact crispness, the electric guitar growled nicely as well. Chris Cornell‘s vocals are dirty sounding, but in a good way, as they should sound. That was my first song.This is one of those sets with effortless clean resolution and does so in a slightly vibrant, yet naturally skewed manner. There’s no grain or little particles of fuzz floating around the sound field. Source obviously comes into play but for the most part… It’s clean. For $40 it’s one of the few times you’ll read me saying that a set punches above its price. Of course, you have to be down for the sound signature, but even then… It’s kinda hard to brush off the talent of this set.
Pint sized look Between the 20’s
Okay, back to the sound. It’s a U-shaped tuning to almost a W-shape in my mind. I hear a slightly boosted low-end which is always in control. The lows have a punchy texture and has depth to it. There is a forward sounding midrange that is also well textured, transparent and well defined. Possibly a hint leaner than some would like but there is still density to notes here. The EW200 had a brighter treble that was composed darn near all the time. The treble extends well into the air region and there is plenty of tactile bite as well. The soundstage is wide and even has decent depth. Technically I feel the Simgot EW200 reaches levels of the more expensive EA500 which to me is wild! In fact, (not really a fact) the EW200 rides parallel to the older sibling in many regards. They don’t have the exact tonal properties, but they are both clearly fantastic in the respective approach to each set’s tuning.If this is all the further you read
If this is the farthest you make it because you know I’m a long-winded mess of a reviewer, then please understand this…the Simgot EW200 is the definition of “price-to-performance”. There should be a case study composed by every brand on planet earth to see “how” and “why” the Simgot EW200 is superior in so many aspects in the budget segment. Just know that you’ll be getting arguably (I’m not arguing) one of the best iems under $75 and certainly in the conversation under $50. Actually, let me just say it now… The Simgot EW200 is in my personal top three under $50. It’s the type of neutral that comes with a glass lined articulation of my music. It has a note edge within the midrange that comes with no edge particles. No grain. No electric sounding metallic fuzz or odd timbre. Yet it’s crisp and still has some edge to it. Not completely smooth like some sets with more congested dynamics. It’s just… Nice. Now, the EW200 can get shouty, so keep that in mind. Granted I don’t see it as anything close to a problem, but I know plenty of warm/dark fans who’ll disagree. Also, note weight isn’t exactly rich so also, keep that in mind. Let’s look at each 3rd of the mix, shall we?
Bass Region
Okay friends, the bass region of the Simgot EW200 is not the type that’ll make a basshead cry tears of joy. However, it’ll put a smile on the face of a fan of good bass. This is a more mature sounding low-end that doesn’t intend to surprise the listener with a boomy thump or gravely deep boned sub-bass. This is a punchy and controlled bass that puts quality above all else. There’s a depth to the bass that’s spurred on by the cleanliness which forces the sound to come across layered and able to mimic what the track is asking of it. Normally I would say something along the lines of… “Remember, I’m talking about $40 bass here so keep your expectations in check”. However, I can’t even say that folks. Because this isn’t a $40 bass. It just isn’t! The tactility and texture of this region brings new life to my music with a lean density that is quick and doesn’t lag, at all. Transients are more exact, yet the timbre doesn’t take a hit which is alluring to say the least.Sub-bass
The lowest of lows on the EW200 comes across as decently extended and should carry most genres fairly well. The idea of this sub-bass presentation is not one of authoritative rumble because in that respect this set is a bit lean. No sir, this sub-bass is about speed and lean muscle fluidity. Nothing warm and creamy about it. I liken this sub-bass to a lightning-fast middleweight who can pack a punch. There is a nice extension as well with note edge integrity throughout.I say that but there are some people who will not be okay with the lack of emphasis here. This isn’t the most guttural sounding sub region. “Groove” by Ray Wylie Hubbard can present as much droning growl as any set can handle and the EW200 seems to accentuate every modulation to the rumble. It just isn’t ultra deep in pitch, but it is well extended and makes a nice showing. This is a slightly emphasized audiophile type rendition of a song I know all too well. I use this track just for this purpose, to see how deep these iems can take it and how much resonant haptic vibration they give off. The EW200 does rumble, but it’s a controlled and precise rumble. It isn’t necessarily weak either, it just isn’t a big bass replay. There is texture and fine line definition to most any track which can present such a thing. The EW200 sub-bass seems to be able to take on the speediest of tracks with relative ease and replays exactly what is asked of it.
Mid-bass
The mid-bass follows suit to a degree. This mid-bass is punchier than boomy. It slams when a recording slams. For instance, “2040” by Lil Durk is recorded with some weight to the bass drop. Therefore, the EW200 has some weight to the bass drop. Nothing plastic about this density, nothing pillowy about the body of the mid-bass and nothing hollow either. Again, lean density, agile, and textured as the bass has very nice ductility that stays solid no matter what. Or take the track “Undoer” by Geese. The bass does well to never encroach upon the midrange. The mid bass seems to roll-off just at the moment of good cleanliness giving off a detailed response to the drums of this track and the constant bass guitar leaving the rest of the melody separated and very clean.So, as you may have guessed, cleanliness is also a highlight of this mid-bass. It comes across with good clarity and a more vibrant presence. However, bass guitar could use some more fullness as they do come across generally a bit less growling than some more boosted sets. Also, kick drums don’t have the most hollow-deep boom, although the harmonics are fantastic in my opinion. Just some things to keep in mind. There’s always a give and take with every tuning. Especially single dynamic drivers. Even more especially with budget single DD’s. Still, I maintain that this is a bass that punches well, clean as a whistle and very satisfying to anyone who isn’t a basshead.
Downsides to the Bass Region
The downsides here are all related to what your preferences are. If you are a bass-boi then you will likely not enjoy the EW200 down low. That’s a downside. If you love that meaty and bulbous sounding bass drop that overtakes your senses as well as the rest of the mix bringing warmth and a bit more thunder then, you probably want to keep looking. That’s the only real issue that I see. The bass isn’t big and so any issue which relates to a lesser powerful bass will be an issue in your listening if that is what you listen for. I think I said that right. Anyways, for me the bass is fantastic and certainly one of the highlights. I feel it has just enough emphasis and density to help this leaner presentation come across lifelike and fulfilling. Also, the layering in the low-end as well as the macro-detail illumination is really nice for a set costing so little.
Midrange
The midrange is exactly like a million reviews have stated prior to my super late review. They are sweet folks. Yeah, they are a little thin in note weight but what’s wrong with thin? I don’t think it makes the sound more natural if the sound is “thicker”. I actually feel that voices in real life are a bit thinner rather than they are thickly weighted. There isn’t always weighty warmth when a person sings in front of me. I hear neutral, naturally weighted voices, for the most part anyways. Also, who said that “natural” is better? In fact, the more I think about it the more questions I have for the gatekeepers to this ridiculously awesome hobby. The mids are sweet folks and they are musical in a neutrally tuned way. I could end this section with that and be perfectly content that I explained them exactly correctly to my humble perspective. They are not super lush or thickly weighted and they don’t come across ultra rich. No, they do not. Also, I wouldn’t want them to. It would screw up everything great about this lovely set. That said, they aren’t thin either. Maybe a hint brighter than perfectly natural, or vibrant. But again, what is “natural”? What is “organic”?Nice midrange performance
The midrange comes across slightly warmer in the lower half and a bit more elated and vibrant, even shimmery in the upper half. The tonality is great throughout for my listening and the midrange can get a bit hot on rare occasions. Still, the EW200 is tuned to walk that fine line. Is the midrange of the EW200 perfect? The answer to that is a hard… Nope. Something I could say for almost any set in this hobby. What the EW200 does well is present a midrange that is exciting yet can also come across soothing. It doesn’t cast a shade of veil; it isn’t tinny or metallic and it is nicely detailed. Separation is better than most single DD’s and imaging is better than most. So yes, to be able to have all these technical luxuries you must also have a slightly leaner presentation or pay a lot more money. Having said that, the EW200 also has a sort of density which is nice within the thinner framework. I believe the quality of the driver has alot to do with how nice this set sounds because transients are quicker while cruising along most any track with good and quality timbre. I’ve always called it “lean-lush” … for lack of better words.Lower-midrange
The low-mids are not presented with a whole lot of warmth from the bass which can either be a good thing or a very bad thing. Depending on what you prefer. However, there is more warmth than the upper half of the mids, but also the lower midrange is slightly more recessed than the upper half too. I say recessed but what I really mean as they aren’t as energetic and forward sounding as the upper half. The “presence” of lower male vocals is still very well displayed. For instance, I don’t find any issue with Dermot Kennedy in the track “Rome”. Yes, a bit lean but still masculine, bodied, and basically not an analytically weak sound. Males sound like males. Cody Jinks in “Colorado” requires a set which isn’t papery dry. His voice is very bold & deeper in pitch. The EW200 does his voice and the rest of the melody sweet justice with this lean-lush approach. I do find every vocalist in this lower half of the mids to have some crispness to them. Strings have good energy, percussion as well, has some vibrant snap to it, some sprightly energy. Not everything is smooth or buttery. I like this because there is a sense of definition and cleanliness. I think males sound great.W/O going overboard
Noah Guthrie does an awesome job on the track “Blue Wall” and the EW200 does an equally wonderful job presenting his voice. It is a simple track that shows off Noah’s powerful vocal delivery. The EW200 actually takes the listener right to the cusp of being too energetic. However, the control of the driver and the approach to the tuning is very nice, keeping the sound very melodic and lively without going overboard. I love the slight piano to the left which follows his vocals. Truly a nice sounding set for many different types of male singers.Upper-Midrange
Females on the other hand have slightly more of a brighter hue, depending on the track of course. Don’t be confused though. When I say brighter hue, I don’t mean overly & overtly shouty or glaring. Not that the EW200 can’t come across a bit glaring on the right track. I feel the glare is right at the brink of too much. I want you all to be well understood of what I’m saying. If you are sensitive to pinna glare in the upper-mids/lower treble, then you will probably not enjoy this set too much. However, for the most part the EW200 has a pleasant sounding upper-mid delivery. For the most part, I hear good control of this brighter tilting upper-mid / lower-treble area. Though it is still vibrant and energetic. Simgot made sure to tune a wide slope pinna gain which rises gradually, around 10-11 dB gain. This is not a steep rise, but it is noticeable. Again, I have almost zero issue with it and in fact I feel this right to the brink nature of the upper mids helps tremendously for the EW200 to be sweetly analytical and detailed while not losing all of its musicality.Quality of the driver…
The upper mids have fantastic transparency with a crisp note definition. I noticed this on darn near every track I played. In my opinion, female vocals sound really good on the EW200. Clean, resolving, svelte but also resounding… quality of the driver folks. The EW200 can afford to be a bit more energetic because the driver can handle it without breaking apart, sounding nasally, grainy, fuzzy and any other descriptor which describes something that simply isn’t that great.Upper-mids cont…
Caitlyn Smith in the track “High” is a perfect example of a female coming across energetic. This track displays the softer side of her voice but also the more ballad delivery to her amazing voice. Her voice is very pleasant to the ear as the verse kicks in but becomes powerful within the chorus section. I really like the way the EW200 is able to navigate these different types of energies. Never piercing or metallic to me. The EW200 does a wonderful job at this price! Her voice is clean lined folks. Again, it isn’t grainy or coarse while keeping a crisp edge to it. The chorus gets pretty congested for this recording and the EW200 doesn’t really get tripped up at all. Even though there is a lot of higher frequency craziness happening all at once. This is a track I always use for reviews and most sets will not reflect it perfectly. I enjoy listening to it with the EW200 in my ears. So, just be aware that this isn’t a thickly weighted version of a good vocal delivery. It is well resolved, finely tuned, open and airy sound with good space and a more natural timbre, but it isn’t that velvet smooth sound.Instruments
I’ll keep this short. Basically, take any instrument and add a hint of vibrancy to it. The sound seems authentic with some spice of vivacity with the EW200 in my ears. Strings generally sound abrasive when they need to, edgy, or very melodic and fantastic for acoustic tracks. Electric guitar may be a hair too energetic in very loud and complicated electric guitar passages of music, but also, not many sets can. Violin is probably what you’d expect, perhaps a hint thin but tonally very nice. Again, there is an edgy quality that has this nice lean-lush weight to it. Double bass has some nice harmonics too. Percussion has a brisk style snap to the attack and a tight decay time. I find it satisfying. Is it “natural”? “Who cares” is my answer. It sounds nice. Some snare drum pangs come across like a defined exclamation point! Like in the track “Billie Jean” by Weezer (Michael Jackson cover). It’s a hard lined “pang” that really feels good to my ears. I could keep going but instruments are always going to be generalizations folks. There are too many recordings to simply label something as good, or not good, according to any one set. Too many songs and too many different recordings to generalize. Basically, instruments come across energetic, sprightly, and spirited, with great separation and great imaging for a $40 iem and they are a pinch brighter. However, they have excellent control and “generally” come across highly resolute for a single DD.Downsides to the Midrange
The mids certainly have some issues to some of you. Any warm/dark lovers out there will probably want to keep looking. You are not going to enjoy the presentation. The EW200 is most certainly neutral/bright throughout the midrange as a whole. This will not be for everyone. There is some glare in the upper midrange on some tracks and higher volumes will expound upon this. Of course, the EW200 manages these areas a bit better than most similarly tuned budget sets but, it’s worth noting. Lastly, the EW200 is not a heavy noted or rich affair. It is not the type of sound that comes across particularly juicy or super smooth. Yes, the EW200 has its moments, and a lot depends on what you are listening to but for the most part the EW200 is on the leaner side of the aisle. Crisp over smooth, clean edges, fine lines, brisk, resolving. These downsides seem to be a lot but make no mistake, the EW200 is a fantastic midrange set. Very detailed, and technically adept for what it is, with very capable drivers and an organically neutral/bright sound.
Treble Region
Moving on to the treble. Folks, how do I say this without it sounding more like a hype tribute. Ya know what, I just have to speak my truth. The treble may be the best part about this set. I’ve said a lot of great words thus far and I do believe that the treble is probably one of the best parts about this tuning. The EW200 treble has a very nice bite on attack. There is a refined sort of edge and snappiness to this set up top. It isn’t completely perfect, and it is a budget level treble, but I do feel that this set presents the treble region better than $40 should suggest. The separation of instrumentation and control over the top of the spectrum is very well done. Yes, I put a “very” in there. For the price that is, and for the fact that this is a single DD. This is a treble which is certainly emphasized in a tasteful way and a purposeful way. Also, this is a treble which can handle complicated tracks with speedy transient attack and decay. Also, the treble does a great job of lifting the entire frequency with an airy and open feeling throughout.Talented treble
The one thing which stands out is the detail retrieval of the The EW200 in the treble region. It is fairly easy to pick up on the subtleties within a track. Again, transients are pretty tight, even in the treble. Also, the treble has a crispness to it while also being pretty resolving. This all helps to bring some of the micro-details to the surface. Also, I’d say that the extension into the upper treble is better than many in the price point. I don’t hear anything splashy coming from the secondary harmonics of stuff like cymbals for example. Everything stays in good control. This extension also does well to create a wider stage and sort-of extend the overall sound.Examples
Listening to Billy Strings and the breakneck speed of his five-string banjo, mandolin, and fiddle play fires along at very fast rates and it does take a capable treble region to properly weigh out each instrument. Take the track “In the Morning Light” off his “Renewal” album. The EW200 makes each note come across with a solid note body for a budget treble. Each note is displayed pretty well with a nice levity to the sound while not coming across as smeared treble. Or “Way Back When” by The String Cheese Incident. It’s another track which highlights some quicker treble that the EW200 takes in great stride and doesn’t skip a beat. What I notice the most is the tight transient activity, and the timing is very nice. I like to hear the notes at their attack crest as the EW200 has a satisfying note edge. There is compacted energy afforded to each note which is spaced fairly well in the treble region, though not perfect.Downsides to the Treble Region
Obviously, not everyone enjoys a treble which comes across this boosted. While I tend to really enjoy it, I’m sure that many of you want a more relaxed treble. So, I would say that if this type of signature applies to your preferences, then I’m sure you’ll enjoy what the EW200 is able to achieve up top. I still wouldn’t call this a “treble head’s delight”. I’m sure some folks would like even more crunch and snap and a bit more vibrancy up top. Also, the EW200 does have some more glaring and peaky moments. In all truth those moments are not a usual thing, and it isn’t something I would label as a hard “con”, but it is a downside and something to be aware of.
Technicalities
Soundstage
The stage size is certainly above average. Well, I should say that the actual sound field is wider than average with okay depth for layering the musical presentation in my mind. That said, everything sounds more forward and intimate than it is pushed back. It sounds as though I’m right up in front of the stage. However, that stage fills my mind space. It’s big with very expressive macro-dynamic energy which just helps the entire presentation to feel full and pretty immersive. I don’t think it beats all iems in the price point as there are a few which come to mind that sound more massive, but we are still talking about iems and so we should temper our expectations a bit. For a budget in-ear monitor I feel the EW200 has a big and full, but also intimate sound. I love it and feel it is great for enjoying an engulfing sound.Separation / Imaging
Speaking of the separation and imaging of the Simgot EW200, I’d say that they are two attributes that are relatively well accomplished on this set. Depending on the track, the separation of elements on an imaginary stage is fairly well spaced out. Obviously, in more congested tracks or recordings which aren’t perfect you won’t be able to make as good of a distinction on this set. Of course, that applies to most sets. I feel that in general the EW200 does a very nice job in this area. What we have is actual layering and some depth within the field of sound and very nice left to right spacing as well. Imaging follows suit and doesn’t skip a beat. I really enjoy the spatial recognition of this budget set and feel it is one of the better within the price point.Details
Detail retrieval is one of the EW200’s strong suits. This set comes with a crystal clear and transparent sound, a great balance across the mix, and emphasized and clean treble region, faster transients and a very nice stage size. All of these attributes help the EW200 to be a contender in the technicalities department against most any set in the price point. Of course, detailed retrieval is pretty nice. Especially for a budget single DD. I honestly don’t feel anyone is going to be missing out on much with the EW200. Again, perhaps in more complicated tracks things may seem a bit more compact and congested. The EW200 does the technical stuff very nicely folks.
Comparisons
TRN Conch ($35)
Oh, the TRN Conch! How you have swept through the Audioverse, while taking no prisoners. One reviewer after another came to your defense. Truly the Conch is a force at this low price of $35. This is another set which has a 10mm DLC dual magnetic single DD within its dual cavity structure. Again, we have an all-alloy design and a beautiful one at that. I haven’t even had a chance to review this one, though it may not be needed (I think enough folks have reviewed it by now). Truly a contender under $50 with the accessories to make this thing interesting. Oh, the Conch also comes with three tuning nozzles for under $40. This budget arena is getting silly folks.
Differences
First off, the price is about the same between the two, but the Conch comes with much better accessories. Usable ones at that. Both cables are nice, but the Conch has a modular cable which is bonkers at $30-$35. Both are built using an all-metal design, both are gorgeous, both are small in the ear, both priced under $50 and both sets offer better sound quality than most sets in their price point. Yes, the EW200 is a couple bucks more but let’s see how these two pair against one another in the sound department.
Sound Differences
Between the two, I think the EW200 has the more controlled sound across the board. Both have a neutral lean in their sound signatures. Both have a good balance as well. However, I feel the Conch is simply not as refined. Really folks. I like them both but, in my opinion, the EW200 is the better set soundwise. I usually never say these things in comparisons but I feel people will actually question which is better and so it is more helpful for me to be as direct as possible.The EW200 has more of a punch down low, better definition too. Though both sets have a nice bass replay. I like the spaciousness of the EW200 midrange which has a denser feel to notes. Neither are particularly thick sounding. The EW200 has a better transient response and better detail retrieval in this area. The Conch has a slight bit more grain present as well. The treble is where I see the biggest difference though. Also, please don’t get me wrong, both sets are fantastic for the price. Anyways, the Conch treble is just a bit too wishy-washy. Forgive my technical terminology. There is a tad less control over the treble. I hear more of a splashy treble on the Conch whereas the EW200 is pin-point and exact with much better bite and snap. It really isn’t some huge chasm between the two but there is a difference, nonetheless. The stage is bigger on the EW200 and technically it’s superior.
Further thoughts on this comparison
Folks, I went a hair harder than I ever would in a comparison. Again, I do so just because I know that people in the hobby looking at this price point will fight themselves over which to buy. As far as pure sound quality is concerned, I do feel the EW200 is the better iem for the money. However, this is a big “however”. One thing the Conch has going for it; the package and accessories may just put some folks over the top with this one. You get a very nice modular cable in the TRN Redchain. TRN also offers a nice aluminum carrying case and seven sets of tips. Also, the Conch has three sets of tuning nozzles which do what they are supposed to do. I realize this looks like a blodd bath in the sound department but both iems are very nice sounding. Still, for my money I would purchase the Simgot EW200.
Kiwi Ears Cadenza ($35)
The Kiwi Ears Cadenza is another huge hit in the price segment which really opened people’s eyes (I feel) to how good $35 can get you in the iem market. I reviewed this set last year and was blown away by how well it replayed my music for the cost. It’s another single DD but with a 10mm Beryllium Coated Dynamic Driver. The Cadenza is one of those sets that will appeal to a very wide group of people. Probably more-so than even the EW200 as it does have a more laid-back tuning. This doesn’t make it better though, that’s for sure. Let’s compare the two.
Differences
To start, the Cadenza is an all-resin iem while the EW200 is all alloy. Both are built pretty great but the EW200 is superior here. Resin versus metal is an easy choice for durability. I find both sets look amazing! The Cadenza is absolutely gorgeous in any color you choose with its swirling pattern. Mine has electric blue against the black base color which is amazing. However, the EW200 is beautiful in its own right. It is more business-like, more elegant and is every bit as nice looking. I do feel that the EW200 provides a much better cable as well as an actual carrying pouch whereas the Cadenza has no carrying case or pouch. Both are rather small in size, and fit is great on both. However, I feel the Cadenza fits me a bit better and simply sits in my ear more naturally.
Sound Differences
To begin, the Kiwi Ears Cadenza has a more laid back and easy-going vibe. The EW200 has a more energetic disposition with tighter transients across the board and is the better set technically. Again… across the board. Also, the EW200 has bigger and fuller macro-dynamics. However, I feel that tonally the Cadenza is a hair better if you are into a warmer and more organic sound. The bass on the Cadenza comes across beefier and with more rumble and oomph. The EW200 is much more defined with better layering in the bass and has a faster speed of attack and decay. The Cadenza is a bit softer in its note definition while the EW200 is more exact. The EW200 has a harder and more direct punch too. The midrange of the Cadenza is warmer, smoother, easier to take over long periods while the EW200 has that fast & clean bite to it. Separation and airiness are much more apparent in the EW200’s midrange. Both sets can get some glare up top but the EW200 is the more refined midrange. The treble is much more vibrant, precise, detailed, and extended on the EW200. It has an airier sound, better separated and more energetic as a whole. The Cadenza has a more laid-back sound again in this region. Smoother, less offensive. Again, technicalities go to the EW200 almost across the board besides the stage size is pretty close. Perhaps depth is better on the EW200, but that’s up for debate.Further thoughts on this comparison
Again, this is another preference battle. You will either prefer one or the other just based on sound signature. Do you like a warm, emotional & musical sound signature? Or would you rather have a dynamic, analytical-Harman style clean sound with slightly above average musicality? The Cadenza is a fantastic iem for the price. There’s no doubt why so many have fallen in love over it. The timbre and tonality are very good and when you add in the popular tuning you know you have a good iem. Still, for me I don’t think this is really a match, personally. I like the EW200 quite a bit more. It is the more audiophile, mature, clean, resolving and technically superior iem. I do pop the Cadenza in my ears every now and again but the EW200 is too good to be ignored in comparison. I’m sure many will disagree, and I would have no qualms with that. Both are fantastic for what they are.
Simgot EA500 ($79)
This is a natural comparison for this review. The Simgot EA500 is one which I reviewed last year at some point and I was incredibly impressed. Truly one of the best iems that exist under $100 and one which would make any collection a better collection. The EA500 is another single DD. A 4th generation 10mm DLC to be exact, with a dual cavity structure and a build quality that is very impressive. Not only the build though, but the look is also absolutely gorgeous too. This is another all alloy iem that looks as though it should be much more expensive. Coincidentally, it also sounds like it should be much more expensive. This will be a huge mountain to climb for the EW200, but I think this set is up to the task.
Differences
First, the EW200 comes in about $40 less in price as the EA500 is still marked at around $79 on Linsoul at least. The build is about the same, both sets are beautifully crafted, all metal, mirror finish, dual cavity. However, the EA500 does have a trick up its sleeve with two sets of tuning nozzles. Granted they hardly make a difference but it’s a difference, nonetheless. The EA500 is ever so slightly bigger in stature. I find the accessories are a bit better on the EA500 (naturally), but both sets offer great value. Of the two I do feel that the less expensive EW200 offers a bit better of the two.
Sound Differences
I spent quite a while between the two sets, and I would say that the EW200 is the more analytical sounding of the two. Whereas the EA500 has the more dynamically expressive sound. More V-shaped, harder slam but less haptic rumble than the EW200. The EA500’s bass region is a tad slower to my ears, more atmospheric and less cleanly defined. Certainly, the EW200 offers the more transient swift low-end of the two. The midrange of both these sets is actually fairly different in that the EW200 has a thinner note weight, less juicy and more vibrant front the low-mids to the upper-mids. The EA500 sounds more organic and truer to life in my opinion. While the EA500 is more musical and emotional, rich, lush compared with the EW200, which is more detailed, snappy and precise. The treble of the EW200 has more of that shimmery emphasis in comparison with the nicely emphasized but less detailed and exact EA500. I actually feel the EW200 has the more refined treble region. The soundstage of both sets is very similar. Perhaps a touch more width in the EA500, both equal in height, but the depth of the EW200 is a hint better. Technically the EW200 is superior as far as spaciousness and it has a better handle at micro-dynamics and micro-details.Further thoughts on this comparison
Folks, I cannot tell you how special these two sets are. They complement each other very well. Of the two, I have to say that I do enjoy the EA500’s musicality a bit more but man do I like the EW200! What a special iem! The fact that I’m even debating which is better is a huge nod to the EW200. Yes, the EW200 is a bit thinner in note profile, and slightly more glaring at times but it is also very clean, cleaner then the twice as expensive EA500. Of course, this will come down to your wallet and your preferences. Do you want musical over technical, or technical over musical. Both are great. Personally, I feel the EA500 is a bit better of an iem. It’s warmer (to a degree), more spacious, more dynamic, macro-dynamics are more expressive, and it is more musical. But it’s also twice the price. This should be expected. Now, is it twice as good? That’s up to you to decide. I do not feel it is twice as good. In fact, I think the EA500 just edges past the EW200 in overall quality of its replay.
Is it worth the asking price?
This shouldn’t even be a question that deserves an answer. Or better said, I don’t even want to dignify the question with a response. Folks, the fact that the EW200 is only $40 in price is a blessing to the community. It is superior to almost any set at or around its price point in a number of ways. If the tuning agrees with you that is. Without question there will be those who disagree and dislike the EW200, and I get that. Not everyone wants the neutral/bright sound of this set. However, if you do feel that the EW200 aligns with your listening preference then I truly don’t believe you can do wrong here.The Why…
The first reason why is the very low price out of pocket to own the EW200. This is an iem that is built like Fort Knox and is as elegant as it is bold in both design language as well as tuning. The look alone is a reason to pick it up. Okay, that may be going a bit far, but you get the sentiment. This is a great looking set folks. Pair a dope looking cable with it and you are in business. Nobody else will be rockin’ a more fly looking set anywhere around you. However, there will always only be one true reason why anyone should purchase anything in the audio game, and that’s because of the sound quality. The EW200 sounds more expensive than it is. Flat out. It’s clean across the board and each area of the mix is as talented as the last. Bass to treble is highly resolving, mostly non-fatiguing, very well detailed, spacious, energetic and very expressive in its macro-dynamic fullness. Yes, it has flaws but name a set that doesn’t. Do I thinj the Simgot EW200 is worth the $40 asking price? Without a doubt in mind, yes.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Simgot EW200 ratings below, that would be $30-$50 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $30-$50 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me and hopefully to the reader.Aesthetic
–Build Quality: 9.9 Built well but nothing out of the ordinary.–Look: 9.7 Very nice-looking set.
–Accessories: 8.9 Nice package for the price.
–Overall: 9.8
Sound Rating
–Timbre: 9.5 Fantastic timbre.–Bass: 8.8 The bass is tight, punchy.
–Midrange: 9.5 A bit thinner but great.
–Treble: 9.8 Treble is awesome in this set.
–Technicalities: 9.6 Technically a great set.
–Musicality: 8.1 Musicality is good for what it is.
–Overall: 9.2
Ratings Summary:
Really nothing to summarize here. I feel the ratings are pretty fair if I’m considering every set within the $30 to $50 range. I chose this range thinking of the consumer who cannot spend a dime over $50. It makes sense to me, and I’ve certainly been there. Friends, in this range I don’t feel you will find many sets Rating above a “9.2” overall. Possibly just the EPZ Q5 or the CCA Rhapsody, in my personal opinion. Of course, those are also different animals too. I wouldn’t say one is better than the other as they are different. I can’t think of another one besides those. No doubt there are some fantastic iems. Sets like the Reecho SG-01 Ova, Kiwi Ears Cadenza, previously mentioned CCA Rhapsody, Rose Technics QuietSea, BGVP P05, also mentioned EPZ Q5, Fiio FD11, Fiio FH11. I’m not going list them all, but you get the idea as there are about 50 more worth considering as tough competition. There are also some sets I haven’t tried like the Artti R2 which have garnered some praise, or the Pula Pa01 etc. The point is, there are a sea of great sets in this price point and to be one of the best, you have to be good.A couple discrepancies
The only possible place I could see an issue as far as ratings are concerned is “Midrange” rating of “9.5”. Some will consider this too thin sounding or possibly too much in the pinna gain for their ears. I could see that, and I’d get it if you thought that was too high. Also, maybe the “Musicality” rating of an “8.1”. Some folks would argue that is too low I think and again, understandable. All the rest I’m good with.
Conclusion
To conclude my full written review of the Simgot EW200, I thank Simgot and Betty from Simgot for sending this unit out to me. Simgot asks nothing of me but to review and be honest. Obviously, it makes it much easier when they know how good their products are, but still, they ask nothing from me, and I will always be thankful for that. Also, I don’t have the most money in the world so receiving review samples is very helpful to me so that I can continue doing what I love.Other thoughts…
Please take in other thoughts about this set. Everyone is different folks. We all have different likes and dislikes, different music libraries, different hearing abilities even. So, it’s a good idea to check out as many as possible. I hope you all take good care, stay safe and always… God bless!
Ceeluh7
@tranner I use adapters. I must have a million of them laying around. They are very small. If I find them I can give you a link. Also, yes they are stupid expensive. I love the two paired together as the UTWS5 has such nice tonality. Paired with he EW200 is great. However, you do have to use adapters. Sorry I should've noted that.
Rose Technics QT9 Mk3 Review
Rose Technics QT9 MK3
Intro
Today I am reviewing one of the latest sets crafted by Rose Technics called the “Rose Technics QT9 MK3”. The QT9 MK3 is currently priced at $280 at their website but can be found as low as $182 on Aliexpress which by the way is very nice. For review purposes I will consider the MK3 closer to the actual price, so to rank them accordingly. That said, it’s smack dab in the middle of a mountain of fantastic sets. Somehow, I don’t think they (Rose Technics) are very worried. Rose Technics has proven to me to be a brand which all but oozes quality for the price. They seem to place a very high priority on the structural Integrity, design, packaging and the tuning of an earphone. Like I said, there’s a lot of competition but… I really don’t think Rose Technics are too worried. They’ve done the leg work, homework, and the hard work resulting in very fine products, and now it’s up to the consumer to take a chance.I have actually reviewed a couple iems from this brand thus far and in each review, I handed out very high marks. Those being the “Rose Technics QuietSea” (QuietSea Review), as well as the “Rose Technics QT9 Mk2s” (Mk2s Review), and one of my partners at the website “Pavan” reviewed the “Rose Technics QT-X” recently as well (QT-X Review). Folks, Rose Technics is a solid 3 for 3 from the writers at Mobileaudiophile.com. The QT9 MK3 is a five-driver hybrid iem that consists of one Dynamic Driver and four Balanced Armature Drivers and a smaller chassis than most sets of this configuration, but I’ll cover that later.
Rosetech Selsa
Rose Technics actually was founded as “Rosetech Selsa” which began way back in 2012. From what I gathered; the name of the company was derived from an ancient proverb which means “There’s a lot of water yet only one scoop is taken to drink”. Rose Technics has had over a decade of creating and designing earphones l while doing their best to maintain a sense of simplicity while crafting small pieces of artwork. These are actually Rose Technics words (paraphrasing) folks, and I can appreciate this cornerstone fundamental core principle. You can build a company with these words, and so long as everyone buys in… you’ll have a very good and prosperous thing.Rose Technics was born…
Now, Rose Technics was actually established in 2015. Since then, they have held tight to the idea that they will always create their products with “original design” and “simplicity”. In fact, the declaration made at Rose Technics conception was “dare to make a difference”. Rose Technics needs not blow you away with flashy products or litter an acoustic cavity with a thousand drivers. They keep things simple and create what works with the intent to provide something that is unique and original. Oh, and they also make sure their products sound… really good. Now that we’ve met the company let’s get back to the QT9 MK3.Like I said earlier, the QT9 MK3 is quite literally floating in a sea of great iems within a price point that just may be the best in all of audio where price to performance is qualified. Obviously, that is up for debate, and I wouldn’t argue anyone’s opinions, but I have truly seen some amazing iems between $200 to $400. Just fantastic! So, the QT9 MK3 also needs to be pretty special to keep its head above water… so to speak. With all that said, I’d like to enter into this review of the Rose Technics QT9 Mk3, thanks for reading.
Non-Affiliated Purchasing Links:
–AliexpressDisclaimer:
I received the Rose Technics QT9 Mk3 from Rose Technics in exchange for a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. This set is a sample iem. Rose Technics has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to Rose Technics and thanks for reading.
Gear used for testing
–Ifi Go Blu–Qudelix 5K
-Rose Technics RZ200-m (included in the packaging)
–Moondrop Dawn 4.4
–Hidizs S9 Pro Plus
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
Beginning with the packaging of the Rose Technics QT9 Mk3, I found this to be a very clever and unique type of unboxing experience. I realize that many of you could care less about the unboxing, after all it is a short dopamine burst and then it’s done. However, Rose Technics does at least “try”. The first thing you see is a larger box with a sleeve which covers it. You’ll see the number “9” on the front and Rose Technics underneath. It just looks “class” folks. It’s somehow even elegant in a weird way. Anyways, take the sleeve off and you are met with the actual box and the name Rose in the middle. This is about when I realized that this was an all-wooden box. Once again, class. The box opens right to left like a book and on the top right are the earphones themselves seated nicely attached to the cable in felt cut-outs. To the left of the earphones, you’ll see the gorgeous case and just under both of those is a larger box holding different items. Inside you’ll see many eartips, an mmcx removal tool, a ¼” adapter as well as eight backup mesh filters. Rose Technics even added in a 3.5 dongle dac for use with the QT9 MK3 or any other earphone you’d like to try with it. By the way, it actually sounds pretty darn good for a small dongle dac.Fitting for the price
Again, I know many of you don’t care at all about the unboxing, but I do feel it is nice when a brand adds a little bit of excitement to the process. We spend a lot of money on some of these earphones and it is a nice bonus to open something that is well thought out, with quality materials and a nice design. Also, it’s nice to receive quality accessories that are actually useful. In the case of the QT9 MK3, all of the accessories are useful, and they aren’t simply arbitrary add-ons. Really well-done Rose Technics. The box and the presentation are very fitting for the price folks are going to pay.
Eartips
Rose Technics added in a healthy amount of eartips. Included in the packaging are four sets of silicone shallow fit wide-bore tips which come in a little black case. These tips have a firm stem and a semi firm flange. Really very nice tips. The next set of tips are three pairs of white silicone tips with a semi-wide bore and a slightly flimsier flange. The bore is identical in size to the KBear 07 tips, if that helps. Also, included in the box are one pair of white silicone double flange tips and one pair of small sized foam tips. As for me, I used none of these though they are all very nice tips. However, for Fitment purposes I used some Fiio ole’ school “vocal” tips which are longer and have a semi-wide bore for most of my listening. I also used Final E-tips as well. I found that any tip which was longer fit my ears much better. The nozzle on the QT9 MK3 is short and so I either had to find a very wide shallow fit or a longer tip with a firm flange. I should also add that a narrower bore does help with some of the shout in the upper-mids area and adds some much-needed low-end oomph. The Fiio vocal tips seemed to work the best for me.
Carrying Case
The carrying case which comes with the QT9 MK3 is a gorgeous square dark brownish/gray leather case that is very nice looking. It feels leather anyways, though it may be a faux leather. It’s a looker folks. I don’t usually speak much on the carrying case because I rarely use them, but I’ve actually used this case quite a bit. The case is all black as I’ve said, and it has the logo imprinted on the top with the name Rose Technics underneath. The stitching which outlines the top of the case is a solid touch with a very appealing look. I know, so many of you could care less about a case. I get it. Usually, I don’t either. Still, I think this is a great addition and really shows off the character of Rose Technics as a brand. Very nice.
Cable
The included cable is a 3.5 single ended black cable with a fabric sheath covering it. It is a 5N Monocrystalline Cooper OCC cable that ends with a 3.5 right angled jack. I’ll be honest, this isn’t my favorite cable I’ve ever used but isn’t necessarily a bad cable either. Yes, it is very much usable, sounds perfectly fine, and looks nice. Still, I would have liked to have seen a slightly better wire with a set like this. For one, the cable gets twisted and knotted-up pretty easily which is a small issue but one that I wish I didn’t have to deal with. Next, it isn’t the best fit aesthetically for the QT9 MK3. Please don’t take this as a rebuke either, because the cable is certainly fine and serves its purpose. I did use this cable for any 3.5 single ended listening and found it to be fine. However, I used a 4.4 FSIjiangyi Copper Cable which has a beautiful copper color to it and looks fabulous with the QT9 MK3. Really a great fit in terms of look and sound. Again, the included cable is fine but simply not to the standard of the QT9 MK3 in my humble opinion. This is actually the exact cable handed out for the Mk2s model I reviewed last year. I suppose I came to this conclusion because their $50 QuietSea has one of the best cables under $250. No joke. It is a beautiful cable. I was anticipating a big beefy banger of a cable like that one. Oh well, it is a simple task to swap the cable out and I don’t mind doing it.
Not that bad
Also, please understand that there is no sonic reason anyone has to change cables. The included cable pairs very well as far as sound goes. It simply gets knotted-up fairly easily and never wants to stay coiled up either. Not a big issue at all. If this is the worst of the problems than the QT9 MK3 is doing very well.
Build / Design / Internals / Fit
Build Quality
The QT9 MK3’s shell is made by way of 3D printed medical grade resin with a very clean and almost medical grade look, if that’s a thing. Seemingly smaller in size than normal five driver hybrid sets. The resin is nice with a transparent design so that you can see the nicely aligned inner workings. The shell is of a darker color depending on which colorway you choose. The faceplates are made using 7000 series Aviation grade aluminum alloy which is nicely incorporated into the overall design and finished look. I love the contrast in colors, but I’ll get to that next. As I’ve stated, the nozzle is a hair shorter than most, but the nozzle is also very well crafted as the angle seems to fit my particular ears very well. Of course, I do have to use a slightly longer eartip but the way the QT9 MK3 seats in my ears is fantastic. If you have had the opportunity to try out Rose Technics’ previous version, the Mk2s then you’ll know that these two are identical in size and shape. So… Small, very small. Also, this set is extremely lightweight folks. Truly they feel like nothing in the ear and because they are so small, they seem to nestle in perfectly.I thought the Mk2s were built very solid, and my tune has not changed with this set. The build is one of the cleaner builds you’ll see. I suppose at first glance they don’t seem like much but when in hand it is fairly obvious that the build quality is very high here. Rose Technics has been in this game for quite some time, and they know how to make a set of earphones.
Design
This possibly could be an area where some may not feel the QT9 MK3 is as aesthetically pleasing as some other sets. Let’s put it this way, I could understand someone not thinking this is the most stylish iem on planet earth. However, I love the design here! Fantastic job once again Rose Technics! I love something that is understated, minimalist or uncluttered, yet still appears nice to the eye. The QT9 MK3 comes in two colorways which are Grey (actually more brownish gray) and silver (the color of the set you see here). The faceplate has a simple matte version of silver covering the whole of the faceplate yet with the name “Rose Technics QT9 Mk3” imposed in small writing along the bottom. So simple yet somehow elegant and tastefully charming. Truly a class act. Like I said, Rose Technics doesn’t have to create some ultra flashy, shiny, glittery or color filled design to look like it means business. They aren’t trying to attract consumers with their fashionable exterior. No sir, yet somehow the QT9 MK3 seems to achieve just that. Very nice Rose Technics.Internals
Rose Technics chose to use one moving coil, 10mm dynamic driver with a liquid-crystal diaphragm to handle the low-end frequency. The DD has upwards of one-tesla magnetic flux which serves the bass with some added impact. They also used two balanced armature drivers to handle the midrange as well as two BAs to handle the top-end of the mix. I don’t know exactly what BA drivers were used exactly but I will circle-back and edit this review when I do find out. Folks, it is easily apparent that the drivers used are if a high quality and tuned very well. I never sense distortion and the way these drivers handle all micro-dynamics and macro-dynamics on most any track while always showing very good control is a good indication of the quality.Fit
The fit I’ve already spoken about a little. Like I said earlier the fit can be an issue for some, simply due to the shorter nozzle. All I needed to do was find tips which covered the difference and I find this one of the most comfortable sets in my collection. It is just so small, and the ergonomics are great. Once I found tips which allowed a good seal, I found these to be some of the best fitting and most comfy sets. I felt the same way with the Mk2s though for some reason I had a harder time getting a seal with that set. Anyways, I once again used Fiio “vocal” tips or Final Audio’s E-tips for the entirety of the review process. I did use some shallow fit wide bore tips, but I didn’t like the way they felt in my ears, although I did get a good seal that way. Now, I have no idea if this set will fit your ears but hopefully this helps. Isolation is only average though. Perfectly fine when music is playing but some sound does get through. Not bad at all though.
Drivability
To begin, I don’t think that the QT9 MK3 needs a ton of power. There is scaling happening though. Only, it isn’t just from output power but more so from the quality of the source. For whatever reason the QT9 MK3 is one of those sets which sounds pretty darn good with anything. Even brighter sources don’t expound upon the slightly bright nature of the QT9 MK3. Basically, a brighter source isn’t going to turn the MK3 into a peak fest or a sheened-out shout convention with exaggerated and oversaturated treble brilliance. You could call this set somewhat of a chameleon in that sense and I wouldn’t argue.Mobile Listening
For more mobile situations I will usually bring with me a dongle dac or a Bluetooth dac with which the QT9 MK3 is perfectly suited. With an impedance of around 18 ohms and a sensitivity of around 104 dB’s the MK3 is pretty sensitive. I find no trouble driving this set from even weaker sources. I actually used the RZ200-m dongle (don’t know if that’s the actual name?) that comes with the QT9 MK3 more than I thought I would. It isn’t exactly a powerhouse. Sidenote: it does sound pretty nice. Still, the QT9 MK3 sounded fine with that dongle and had plenty of power for this set. For an add-on in the packaging, it is actually a nice dongle.
Out and about
Still, for regular “out and about” usage I mostly opted for my Qudelix 5k or Ifi Go Blu. To be clear, in this review period I used both, alot. The Go Blu has a slightly warmer tonality and so I do prefer that pairing over the Qudelix, but the 5K also has a litany of features, which almost trumps the slightly better sound of the Go Blu. Still the point is, the QT9 MK3 sounded very nice on both, whether I was using 3.5 single ended or 4.4/2.5 balanced. Dynamics were in abundance whether I used the dongle which came with this set or the more powerful Go Blu. I also spent a lot of great moments with the Hidizs S9 Pro Plus and Moondrop Dawn 4.4 using 4.4 balanced and I will say, there is some scaling using a more powerful output, but not enough to warrant needing more power. Out of all of these I found the S9 Pro Plus paired best for my preferences. That vibrant warmth against the neutrality of the QT9 MK3 was a great match.
Dap listening
Always my most used source would come from my daps that I have on hand. Those being the iBasso DX240 and the Shanling M6 Ultra. Both devices have low output impedance, and both have a ton of power under the hood. The QT9 MK3 took well to both source tonalities. The M6 Ultra (AK4493SEQ dac chip) is warmer, more velvet in smoothness and a thicker note weight while the DX240 with the iBasso Amp8 MK2 module attached (ES9038 Pro dac chip) is more energetic, dynamically charged and closer to neutrality. Both are fantastic in their price point of just under 1k and just over 1k. The QT9 MK3 loves both, which in turn means that I love both.What should you use
I don’t have a million sources to compare but I did find the MK3 does an admirable job adapting to most any source. Certainly, any of them that I have. But I do have my preferences. Of my dongle dacs, listening with 4.4 balanced on the Hidizs S9 Pro Plus was a treat. It’s warmer but doesn’t lack in its macro-dynamic expression. Also, for my daps the warmer and silkier sound of the M6 Ultra was my choice. The only thing you need is (at least) a decent Dongle Dac, though I would assume you could run this set off of a simple phone. I can’t imagine the dongle dac which came with the QT9 MK3 is that powerful but again, it easily powered this set.
Sound Impressions
The Rose Technics QT9 MK3 comes across very energetic with a tonality that hangs around the neutral side of the aisle. Sounding more like a very clean U-shaped to W-shaped sound signature with a punchy bass, nicely emphasized mids and a strong treble performance. Overall, I would call this a nicely balanced set. There is the tiniest bit of warmth in the low-end, a neutral low-mid, slightly more lustrous upper midrange and a spicy but controlled treble. No one area of the mix masks any other area either. Meaning; you won’t hear the bass covering over the midrange and muddying it up, and you won’t hear the treble sheen sizzling over any area either. I find the cohesion is fantastic on this set as it has a very nice tuning with capable and quality drivers. Rose Technics truly did a wonderful job in my opinion and hit the target they were going for. Perhaps a tad bright for some folks or not bass boosted enough for others but very nicely balanced, nicely detailed with vibrant macro-dynamics and able to take on most of my complicated tracks in my Playlist. Note weight isn’t the richest or thickest though so, keep that in mind.Soft bright hue
Furthermore, the sound is very clean across the mix. Transients seem peppery and quick with very nice separation of elements and very nice note definition. Also, looking at my notes; time and time again I write how nice the timbre is. Who needs notes though, I have the MK3 in my ears as I type this, and “Hotel California” is playing “right now”. The timbre is really nice folks. It’s organic with such a nicely tidy note structure. I feel there is certainly an upper-mids to lower treble focus (if any) but also a slightly emphasized sub-bass. I’d say the only thing keeping the QT9 MK3 from being completely natural is the soft bright hue in the upper mids and the snappy transient behavior. It really is great folks. That said, some more warmth would help to make it more “my” preferred signature, maybe a pinch more from the sub to the mid-bass and a titch slower decay would make it more atmospheric. However, I’m not speaking badly here, this set sounds sensational for the price.Quick look Between the 20’s
The bass region has only a slight emphasis making the bass quantity only moderate to me. This isn’t some ultra thumpy boom fest folks. Basically, bassheads won’t be drooling. No, this is a cleanly controlled bass with enough oomph to carry most genres but not enough to say it “Bangs”. But “boy o’ boy” it’s speedy. This bass is very precise with an elastic control. The mids are neutral across and smooth as well. They are clean and clear with great resolution and sounds great when listening to well-produced and quality music files. The mids aren’t very recessed at all and sound forward and energetic. The treble has good extension, decent body, very well detailed, and has enough emphasis to lift the entire spectrum. I would say this set peaks out in the treble region but never goes overboard into sharpness. Detail retrieval is great across the board as the QT9 MK3 serves up technicalities very well. Imaging is pretty nice with decent layering of sounds and the stage is pretty wide if you ask me. Macro-dynamics are exuberant and bold, especially in orchestral pieces but it’s pretty obvious in most any track.If this is all you read
You probably already know if this is a set you want to learn more about. It won’t be for bassheads, it narrowly may be for treble junkies, and it won’t be for those who enjoy the richest note weight. Not for warm and dark tonality lovers either. The QT9 MK3 does a lot very well though. In my opinion there aren’t many in the price point quite like it and all it performs well at. Not exactly anyways, and definitely none I’ve heard. I don’t feel it punches above its price necessarily but is very good against most any set for many different qualities. Please hear me though, this will not be for everyone. One of the hardest things about being a reviewer is making sure people read and understand these words… ”Not for Everyone”. Is the MK3 a special set? No question about it, it’s a special set. Will it feel special to Bob the basshead? Um… probably not, Bob the basshead probably won’t dig this set! Do we have an understanding? I just want to make sure. The MK3 has a very refined and clean sound that I have really grown to enjoy.
Bass Region
Looking at the low-end of the QT9 MK3, it reminds me a lot of the Aful Performer 8. Only the bass on the QT9 MK3 is probably a bit tighter with a denser feel to it. Not by much though. In fact, the entire sound signature reminds me a little of the Aful Performer 8. However, back to the bass, it has a very nice and linear glide down from the sub-bass through to the midrange with a streamlined and well contoured note structure. Abrasive when it needs to be, smooth when it needs to be, and concrete hard when it needs to be. Like “Take on Me” by Weezer. Those Kick-drums are elastic as you hear the solidity of the tacky edge, and the hollow rebound is full. It isn’t the deepest or most robust, but it is authentic. Clean enough to reproduce all the little nuances of something like successive kick drum booms. Also, it is very fast. There really hasn’t been many tracks that this set has gotten confused by down low. Very nicely structured and clean. The leading edge in attack or the crest if a bass note is tactile, it’s textured, it isn’t pillowy or fuzzy. It’s controlled and like I said… Contoured.Sub-bass
Now that I’ve said all that nice stuff, I should also say that the sub-bass rumble is only decently beefy, and it isn’t my perfect preference, but there’s still a nice rumble that I find satisfying enough. Now, if you like a big, fun, bone-rattling sub bass with a guttural haptic reverb that vibrates your temples… then you won’t exactly find that with this set. It isn’t moving mass amounts of air but somehow still renders a thrumming and reverberant bassline with some physicality. The QT9 MK3 sub-bass sounds like it’s just north of neutral and can dig pretty deep with good depth to the sound. Thankfully Rose Technics saw fit to add just enough to carry certain genres which require some rumble. Beyond that, the bass is tight! It’s nimble in its ductility with a rubbery type of elasticity and far from a one-noted or a blended affair. I can’t help but applaud the compact nature of the sub-bass. Also, the sub-bass somewhat carries the load in the bass department, as the mid-bass is a bit less full.Pristine, tight & detailed
“Groove” by Ray Wylie Hubbard is a song of choice which I use in most of my reviews because of the haptic reverb from the bass right out the gate. No waiting around for some melody all to finally get to the bass drop. Listening with the QT9 MK3 gives off a substantial gravelly grunge with a solid note outline. Very clean sounding. The haptic feel is there and pretty meaty as far as quantity is concerned, for me anyways. I feel like the bass is just so clean and rides that bassline very nicely. “West Texas is the Best Texas” is a track by The Panhandlers which incorporates a deep bass guitar that sounds fantastic on this set. It sounds pristine, tight, and detailed amongst the strumming guitar and the melody being sung in tandem. There’s certainly some heaviness to the bass guitar which has a nice textured feel to it and still comes across very naturally.Mid-bass
Listening to the mid-bass on the QT9 MK3 I get a constant urge to have just a tad more emphasis. No, it isn’t the most bullish and authoritative, but the mid-bass does carry with it a punchiness with a solid, or compacted slam even though it isn’t the most imposing of mid-bass replays. The mid-bass has a solid texture presence like lean muscle texture but with punch and buoyancy. It comes across very well rounded and can be very nuanced. But it just isn’t the most bloated bass you’ve ever heard. To the contrary, the QT9 MK3 also doesn’t have a plastic sounding mid-bass as it does have a condensed command to it. There’s still some potency and warm weight to it. Now, bass guitars are at times a bit less full sounding (depending on the pitch and the track) and a slight bit more of a vibrant sounding fundamental tone, but not so much that I’d label this a direct “con”. Double bass still has enough morbid drone when it needs it. Perhaps a bit thinner than perfectly and organically true, but it still can muster a nice silvery bellow.Mid-bass cont…
The mid-bass does have a solidity to it on the attack edge with a hardened bite that sounds pretty darn nice. You won’t hear any soft notes unless a track is recorded that way. Take “Old Man Gillich” by Muscadine Bloodline. There is a nice kick drum partly serving as the foundation to this track with a tight snare drum which follows suit. I really enjoy the hollow and round thud on the drum here. Folks, I can honestly envision the kick drum so well because of how nicely the QT9 MK3 replicates all sides of the boom. It has a nice hollow punch and wet edge to it, but again, you hear and feel the rebound. So very well textured and always moist or dense. Another track “Wolves” by Big Sean releases a bass drop at around 29 seconds that I can feel just as well as hear. The QT9 MK3 gives off a solid boom but still not over-saturated or overly bulbous. This is a case of a set replaying exactly what is recorded. So, the MK3 can rise to the occasion but it simply isn’t overdone or as “fun” as some other more bass heavy sets.Downsides to the Bass Region
The mid-bass to me is the one area that I’d like to see a few more dB’s. Let’s just get that out of the way. There are a few reasons for this. I feel the midrange could use some warmth and weight from the low-end bleeding into the region… in a calculated manner. A healthy bleed, if you will. Just a bit more to help the midrange from sounding as dry and to add some beef to low-mid vocals. Fans of big bass will want to keep looking. I feel I’ve gotten this point across by now and pretty much beaten this horse past death a bit too long. You get the picture. Other than that, this is an amazing bass. Truly a well-done area for the QT9 MK3 and one of the standout features of this set.Folks, the low end can handle most anything you throw at it and does so in a seemingly effortless way. Most certainly its “quality over quantity” in the best way possible. The transient speed will honestly suck you in like a tractor beam when coupled with the organic and natural solidity. No, it’s not the most emphasized and it is a bit leaner but there is real density to it. Just a very endearing and engaging sound in most anything I play through them.
Midrange
The midrange is another selling point to me. I wouldn’t call it tops in class like some other more organically weighted midrange efforts, but it is organic, nonetheless. We have two BA’s managing the midrange and I feel that Rose Technics did a great job of walking the fine line of less bass intrusion for a clean midrange, and the type of midrange which comes across too analytical and dry from not having that warmth. To be clear, this is not dry to me and while I wouldn’t consider it lush and rich, I would consider it lean-lush throughout with great timbre. This set does have some semblance of saturated texture within the leaner profile. The lower half is a bit more recessed yet pristine in its note delivery, while the upper half is more vivacious and has hues of brightness, but both keep that timbral integrity. This is a highly resolving midrange which comes across as airy and open and still has a measured uniform balance across the mids. Maybe not perfectly symmetrical but very cohesive and liquid in the transitions. Again, transients are rapid while the QT9 MK3 still carries a nicely smoothened body to notes. It isn’t grainy or coarse, unless the track being played has these attributes.The subtleties
Another fine thing about the QT9 MK3 is its ability to illuminate even subtle details within my music, I hear some pretty nice details that I wasn’t exactly expecting. This set has agile micro-dynamics shifts which opens up the stage and the MK3 has a nice balance across the mix which also helps in bringing out the details. Staging is also very nice in this region as the MK3 does well to render the sound field in a 3D fashion. It is a nice add on to the great timbre of this set and really helps the QT9 MK3 to sound pretty great.Lower-midrange
Listening to male vocals I would have thought the QT9 MK3 would’ve been very lean and distant. Granted the lower midrange is pushed a hair further back than the rest of the midrange. However, within that framework the MK3 has very good presence and an alluringly flush note body with good texture. “A Fathers First Spring” by The Avett Brothers is a nice example of good texture to a male voice. Not the type which has a rough grain to it even though his voice is more lifted in pitch. Instead, I hear something very finely contoured with a smooth overlay along the crest of his vocal notes. I could have just said it’s clean, or resolute but I feel the way that the QT9 MK3 swims around the modulations of this track are commendable.They sound good folks
“Colorado” by Cody Jinks shows off this man’s deep and coarse-grained voice with a knife-edged sound and great control. This is a voice which is weighted and heavy no matter the earphone. What I didn’t want was more vibrance to his voice or a more metallic edginess to it. Thankfully, I don’t hear that at all. His voice is weighted-neutral, if that makes sense. Not warmly heavy. It’s still dense in texture permeation and carries this density through the entire song and each individual note. Maybe not as translucent because of this lean-lush sound but very resolute. If it were up to me and my preference, I already stated I’d have a bit more low-mid warmth, but I am impressed by what Rose Technics was able to accomplish with this set here. Males sound good folks.Upper-Midrange
Another area when through a macro lens the upper-mids come across very well sculpted. Again, they are leaner in their presentation but have a solid compactness and textured consistency. Perhaps females gain a bit more of a soft brightness to them, or shimmer, but they still remain melodic, and the timbre doesn’t become metallic or rough. Again, clean sounding all the way through. “Half In Half Out” by Gabrielle Aplin sounds both delicate as well as radiant. Radiant as in; luminous. Elevated to a degree. Still harmonious and controlled but with some svelte sparkles which adds some life to her vocals. Not that she needs the help. Ella Henderson in “Everything I Didn’t Say” is another track which elegantly shows off her voice with some vibrance all the while not losing the musicality to her voice. Transients are so quick and agile while there is still that saturation of density to her voice. She sounds very good on this set. Maybe there are the slightest touches of sibilance, but it didn’t bother me one bit.Only with tracks which are prone to it…
Most females come across almost resplendent in their subtle brightness which can be lively and comfortably energetic. Oddly enough this tinge towards brightness is not something which derails the note integrity. All the time anyways. I should add that, on some tracks, because of this soft brightness, I do hear some shout in the upper mid/lower treble area. For me it has only shown up in certain tracks. Like “Sensitive” by Megan Trainor. Her voice just cuts through the air with razor sharpness and enters all ears with this piercing tone. For whatever reason this song is simply prone to that sharpness. Of course, I get this on many iems but I had to mention it here. Yes, the QT9 MK3 is very vivid and energetic, and the timbre is tilted more organic and controlled, but at times in the right tracks… You may get some subtle glare.Instrumentation
Most instruments which dabble in the midrange walk in stride with the vocals in that they are closer to a more organic sound. I find that vocals sit a hair in front of instruments, for the most part. Strings have a very lively and nice sharpness and bite that is mostly always satisfying and very detailed. Electric guitars have that bodied but energized gruffness and abrasiveness that I always look for without going overboard and coming across too sharp. Acoustic jams are nice with the QT9 MK3 too. Piano is tuneful but possibly not warm enough for a realistic sound in the lower mids but I feel the upper mids give off that resounding sound. I still hear a rich sound across the board with great secondary harmonics. Even with the short decay. Percussion of almost every form has a snap to it or a pointed charge of energy at attack with nice weight to them. The fundamental frequency of a cymbal strike usually comes across nicely and doesn’t sound splashy to me even in the secondary harmonics (mostly in the treble). Violin has a soft or hard edge (depending on the track) to it and can come across silvery or very melodic. I won’t sit here and list every instrument, but I hope you get the idea. Instruments sound very natural with only a peppering of vibrance added on. There’s nothing strange, nothing too odd as far as timbre is concerned either. At least that I intentionally listened for. If anything, near the upper mids most instruments have a glaze of extra shimmer to them.Downsides to the Midrange
I think the most obvious downside to the midrange would likely be the note weight and warmth being a hair less lush and rich then some folks would like to have it. There is also some shoutiness in the upper mids along with the most subtle metallic timbre on rare occasions (very rare). The MK3 does have the slightest tinges of sibilance at times too. However, I am only reporting this to you for the sake of the review. Also, none of these downsides bothered me at all, not even in the slightest. I’m sure that there’s some of you who are ultra-sensitive to such things so be aware. Folks, at the end of the day the midrange on this set is very nice. Not so gifted as some sets which quite literally are tuned to master the midrange but for a balanced U-shaped iem I have to say that the QT9 MK3 is very impressive to this guy.
Treble Region
The treble has some fun energy. It comes across with some added spice and some extra razzle-dazzle to up the presence of this set. I find the treble brings a sense of openness and subtle airiness to the sound. Maybe not the “most open” but certainly there is room to breathe up top. The highs on this set do seem to stretch out the sound within my mind space with the added vivacity. I also feel the MK3 has good extension into the upper treble, which also helps to widen the sound field. So yes, the treble has a little bit of added luster and glossy luminance. However, this doesn’t mean the highs are necessarily too sharp either as I wouldn’t call them fatiguing. I have grown accustomed to this sound and I really am not finding many issues with too much brightness. Maybe to some treble sensitive people I suppose. Actually, definitely to sensitive hobbyists. To everyone else, I think you’ll enjoy what Rose Technics was able to achieve here. Energetic & crunchy
The treble does have a nice crunch and a keen acuteness to its note definition which does an admirable job of separating instruments while still having a slight richness and treble body. If that makes any sense to you. The treble has bite to it folks. Micro details come alive but not to the point of any analytical type of papery dryness. There is some saturation to the note body. Don’t get me wrong though, I find detail retrieval to be nice, just not to the degree that the MK3 are detail monsters. Transients are still fairly quick and tight. On top of all that, I also find the cohesion between drivers as well as between frequencies is really great. A lot has to do with the nice cadence and timing that the treble has with the rest of the mix. This is just a well-tuned and energetically charged treble.Examples
Listening to a track like “Bishop School” by Yusef Lateef the QT9 MK3 quite easily manages all treble activity without even skipping a beat. Every last instrument is accounted for. This track is lathered in both blistering treble activity as well as slower progressions. In it you’ll hear the congas, flute, electric guitar, guitar, the trumpet and percussion all intertwining and crossing paths. This is a nice track to test for imaging, separation, treble bite and punch, peaks, transient response and any other treble attributes. The flute comes across ethereal, bright, silvery and rich. The trumpet sounds brassy with a controlled brilliance that isn’t harsh as the trumpet blare comes across with a voluminous sound. Also, “Way Back When” by The String Cheese Incident is another track from my notes with nice treble activity. The MK3 really does separate each instrument nicely and each sound comes across organic and closer to natural than not.Downsides to the Treble Region
Obviously, this set may be too bright, too brilliant and simply too peaky for many folks. Granted, those people probably stopped reading this review a while ago. Also, I really do feel that Rose Technics did a marvelous job of tuning the treble to bolster and enhance other areas of the mix. Still, I’m very positive this set will be too energetic for those who desire less emphasis and a sooner roll-off. Those who enjoy a more analytical and even more detailed and resolving treble may not be completely satisfied. While the treble is nicely resolving I also feel that the density to treble notes sometimes cramps things to the slightest degree. However, this only occurs in crazy complicated tracks but also, the QT9 MK3 does it better than most. So, take that for what you must.Overall, I feel the treble is great. It comes right to the brink of over brilliance and stops just short. Not too over saturated in treble sheen but just saturated enough in the note body. I like the crispness of the treble without the sibilance. All in all, this is a well-tuned set folks. I like it.
Technicalities
Soundstage
Listening to the track “Hook” by Blues Traveler, what I hear is above average width, average height and good depth to the sound. Listening to this track always gives me a good idea of the approximate vastness of a set. I find the MK3 to be open sounding, for the most part which stretches the psycho-acoustic sound field within my mind space. It’s a nice stage size. Nothing which will blow anyone’s mind. This is an iem after all. That said, the stage certainly has an engaging quality to it. There is subtle depth to the sound which does present a certain 3D picture of the stage as I listen. Some recordings show this off better than others but for the most part I hear an almost holographic representation of my music. You don’t get a simple wall of sound on this set. Instead, the sound is full. Now, the midrange sounds a hair closer to the listener (which I enjoy) and so it is another stage which is intimate in that sense. Yet it also reaches past my ears in width. The stage is a good one folks.Separation / Imaging
As far as separation of the elements within an imaginary stage, I feel the Rose Technics QT9 Mk3 does a very nice job. It does have that lean-lush approach to note delivery which is somewhat saturated but still lean enough to not feel cramped. At the same time the cleanliness and resolution are very nice. Good width of the stage, tighter transients and a more open feeling to the MK3 all helps to perceive good separation of instruments and vocals. Imaging kind of follows suit as well. The spatial recognition doesn’t seem to have any real issues, at least that I’ve noted. There is also depth for layering of the sound as well. Honestly, I find no real issues in this department.Details
The detail retrieval of the QT9 MK3 is very nice. I can pick apart even the most subtle of details in my music. Even with more complicated tracks, so long as the recording is good, I don’t feel that any other set is head and shoulders better than the QT9 MK3. Take everything we’ve learned about this set, the separation, everything’s in its place, speedy and clean micro-dynamics, very nice note definition, a balance across the mix with no one frequency masking any other and what you get (usually) is a pretty detailed sound. Now, there are certainly sets which are even more dry analytical sounding, thinner, tighter and there are some which are better tuned to bring out the subtleties. However, those sets don’t offer the same musicality of the QT9 MK3. There is a nice balance of musical and technical which helps the overall sound to be very engaging and dynamic, but also clean and detailed.
Comparison
QOA Aviation ($199)
The QOA Aviation is a solid option in the price point that I don’t think anyone should sleep on. I reviewed this set around the beginning of October and was especially smitten with it. There is so much to like about it; the way it delivers music to my earholes, the fantastic build quality, the awesome look, the unboxing is awesome too. Most important is that creamy and lush sound. Basically, it is a complete change from the sound of the QT9 MK3. I think it makes a good comparison this way. Many people have heard the Aviation too and so it does help if others have some sort of a gauge as to what I’m referring to. I really like the Aviation as a wonderful change of pace type set and I more than enjoy it in my collection.
Differences
For one, the build of both these sets are like polar opposites. One set (Aviation) seeks to wow you with the resin shell and the glittery and colorful look and the other (MK3) would rather act like they’ve been there before (so to speak) with a clean, minimalist, and pro look. Both builds are great. This is one comparison where the look alone may be pulling you to one direction or the other. Next, the MK3 does have one extra driver in the treble area. The MK3 is also much smaller which is a feat in and of itself. It’s lighter, easier on the ears maybe. The only other nonsound difference would be in the price. Right now, at this moment the MK3 is actually cheaper at $182 (Aliexpress), yet it’s MSRP is considerably higher. Both sets have very nice unboxing experiences with great accessories. I would certainly take the Aviation’s modular cable, but the rest is pretty on par with each other.Sound Differences
The first thing you’ll notice is how different these two really are sound wise. The Aviation is this warm and lush earphone with a penchant for musicality and a fatigue-free listen. The MK3 on the other hand is neutral/bright, technically gifted, better balance across the mix, and a much cleaner sound altogether. The MK3 has a leaner note weight but much better note definition whereas the Aviation comes across lush and rich. The Aviation has a lot more low-end thump and rumble. It has quite a bit more in the tank as the bass does give off a warm presence to the rest of the mix. As you know now, the MK3 has that fast paced and detailed bass with a lean but solid punch. The Aviation is softer in its note delivery and doesn’t have the definition like the MK3 does. The midrange cleanliness and lean-lush vocal delivery of the MK3 is more forward but less thick in note weight. Much better in midrange detail retrieval though, separation and airiness. Again, the Aviation is is creamy, milky and offers that rich emotionally melodic sound that is like a warm blanket. The treble of the MK3 is much more energetic, much better defined, more resolute and better extended. Those who are sensitive to treble may like the Aviation as it is easy on the ears and more smoothened with a much less offensive sound. Technicalities pretty much exclusively go to the MK3 except for height of the stage. Musicality and feel-good richness go to the Aviation.My thoughts
Folks, these are two sets which are more like polar opposites then anything. Most people would probably think it’s a horrible comparison to use. I disagree for one reason; something so different is helpful for me to explain the set I’m reviewing a bit better. Friends, I love both of these sets! Love em’. My musical palate is pretty diverse in what I enjoy but between the two I would likely prefer the MK3. The holographic stage, the cleanliness, the dynamism is all so engaging to me. That’s not taking anything away from the Aviation either. Both sets are wonderful for what they are, and they are both great differing options for any collection.P.S.: I will edit in a couple more comparisons in the future. I simply ran out of time prior to the publish date of this review. Please comment any you’d like me to compare with the QT9 MK3. Also, DM me if you have any questions.
Is it worth the asking price?
I think you have to look at all sets within the price point to really get a good sense of the real worth of this set. The question is “Is it worth the asking price”? From my perspective and from every iem that I’ve had the pleasure of trying within the price point of $200 and $300 I have to say that most certainly the Rose Technics QT9 Mk3 is worth the money they are asking for to own it. In fact, the price has actually gone down to as low as $182! This is a steal folks. I feel this set is worth the $280 MSRP and so cutting a cool $100 off that price most certainly makes this a no brainer if you can afford it.Of course, the sound signature has to agree with you. You will have to enjoy an energetic and lively sound. Without question, not all hobbyists will go for the Rose Technics QT9 Mk3. I know plenty of warm & dark lovers who will find this a bit too thin and less rich in note weight than they’d like. In the same token, I know many folks who are very sensitive to any form of brightness. These folks will obviously not be the type who would spend their hard-earned money on this set. It has to fit you and your personal preferences. I did my best at explaining the sound as well as every other aspect of this set and do hope it was enough. Nothing is for everyone, the blessing and the curse of this hobby.
The Why…
Let’s begin with the fantastic build quality of the QT9 MK3. Like I said earlier, upon first glance the MK3 doesn’t look like much. It’s when they are in your hand and in your ear that it dawns on you the quality of materials that Rose Technics chose for this great line of iems. There’s a reason they haven’t really changed since the series began. The look is very nice, it’s minimalist, and it doesn’t call attention to itself. However, the look is also very slick, sleek, professional and classy. The unboxing & accessories are tops in class (the cable isn’t the best) which is a nice bonus too. For all of that, the number one reason that the Rose Technics QT9 Mk3 is worth the asking price is because of… you guessed it… the sound quality.Well worth the price…
The QT9 MK3 has all the sonic trappings of a set which could be considered near the “top in class”, especially if the tuning aligns with your preferences. While writing this review, I really did stretch myself to find negative aspects about the sound. I still came away with some drawbacks. The rest is surprisingly good, and I do hope more people will check the QT9 MK3 out. The bass is very fast, detailed, very punchy and the sub-bass extends nicely. The midrange is forward but not to a fault, it’s clean as a whistle and very melodic with some awesome lean-lush and dense note weight. Transients and micro-dynamics are speedy with minimal decay and sustain which promotes a very clean and controlled sound. The treble is energetic yet not overcooked. It’s bodied and it’s vibrant, it has some brilliance and is nicely detailed for what it is. I’ve tried so many iems and from my humble and subjective vantage point I feel this set is well worth the price that Rose Technics is asking.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Rose Technics QT9 Mk3 ratings below, that would be $200-$300 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5 to 6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $200-$300 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 8.3 Built well but nothing out of the ordinary.-Look: 7.8 This is up for debate, but I feel the look is cool.
-Accessories: 9.5 Very nice accessories & unboxing.
–Overall: 8.5
Sound Rating
-Timbre: 9.5 The timbre and tonality are excellent.-Bass: 9.3 Mature bass that is quality over quantity.
-Midrange: 8.5 The mids are very nice on this set.
-Treble: 9.0 The treble has good body & has great control
-Technicalities: 9.2 Technically great!
–Overall: 9.1
Ratings Summary:
To summarize the ratings above; there’s only on area I feel the need to further explain myself, and that is the “Bass” rating. I gave this set a “9.3” in this category and it isn’t even my own preference for quantity. A 9.3 is very high after I considered every set that I’ve heard in the price point listed. How many sets does the MK3 have to beat out to get a 9.3? Think about it. I guess now you know the quality of the bass that I was speaking of. Yes, it is that good. It isn’t even up to my quantity standards, and I still really respect the output in quality. Not “Basshead” but “Bass-Fi” to a very high degree. Of course, the only way that it could’ve been better in my eyes was to add some quality db’s in the mid-bass.Every other rating, I feel is justified against the rest of the market. Remember, please remember, these are simply my opinions against the iems I’ve actually heard and spent time with well enough to garner a string opinion over. Granted, I’ve heard a lot. Way more than I actually posts or publish. I only review sets that I actually enjoy or sets which I feel others would enjoy. Anyways, I do feel I (at least) know the price point well enough to have an opinion. Also, I haven’t heard them all. So, take this “opinion” as a grain of salt if you must.
Good at being balanced
You have to remember that many sets “specialize” in certain areas and so they will score higher in those certain areas. Some are better in the midrange, some are higher in the bass but lower in the technicalities, some are better in the technical stuff but awful in timbre. You get the idea. However, a balanced set like this has more of an evened score across the board generally. The MK3 has relatively high scores across the board. This is a good thing folks. Yes, there are sets better at vocal delivery, without question. Also, yes there are sets which bang way deeper and are more fun, without question. Notwithstanding, the QT9 MK3 is solid pretty much everywhere. You have to figure that any set with a score higher than a 7.5 in the price point listed, is pretty darn good. I gave the MK3 a “9.1” in overall sound. My opinion.
Conclusion
Once again, I want to thank Rose Technics for providing the QT9 MK3 in exchange for a full review and feature at Mobileaudiophile.com. I have greatly enjoyed my time with this set and feel that not enough people have had a chance to listen to them. The MK3 does so much right and while it may not be everyone’s perfect cup o’ tea, it will definitely fit a vast amount of folks’ preferences. Rose Technics is one of those brands that simply creates, and crafts good products and I have seen this firsthand. I look forward to checking out more of what they have to offer in the future. So, thank you again to Rose Technics, it means a lot.Please check out other thoughts on this set. It will always benefit the consumer to do your homework and get as much info as possible about these audio devices. Especially if you cannot try them in advance. Listen to, watch, or read other perspectives and opinions and I do hope it helps you to make an informed decision that you can be happy about. With that, I think I’m done. Please take good care friends, stay as safe as possible and always… God Bless!
Aful Performer 8 Review
Aful Performer 8
Intro
Hello folks, this is my full written review of the Aful Performer 8, or “P8” as I’ll call it for review purposes. The P8 is an eight-driver hybrid iem hovering around the mid-fi/midrange price of about $330 depending on where you can find it. Also, the P8 is one of three earphones (in total) which have come from this brand-new company… Aful Audio. I actually just recently reviewed the Aful MagicOne (MagicOne Review) and I feel it is one of the better sets in the price point and certainly one of the most unique. I’ve also had the Aful Performer 5 (Mahir’s P5 Review) for a little over a year and have enjoyed it and used it often for comparisons in my reviews. The P5 is a highly regarded set in its price point. Point is, so far Aful hasn’t made many mistakes folks. They seem to take their time and create products they know are going to work for the general public. I feel their tuning process is different for each iem and each iem is in turn… different from the last. Each set thus far has its own distinct flavor and flare, and each can certainly be considered very good within their price segments.Aful
Aful was not a name that we in the west were very familiar with. Well at least I certainly hadn’t heard much of them. Not until the Aful Performer 5 (Mahir’s Review) was released to the public anyways. Shortly after, Aful also released the Aful Performer 8 (Pavan’s Review) as well as the Aful MagicOne and I gotta tell you folks again… all three of these sets are very well tuned and hold a nice spot in their respective price points. Aful actually began their journey back in 2018 when they quickly began setting up their lab and by 2020, they had procured three patents! That’s saying something folks! By 2022 the Performer series was off the ground with the release of the Performer 5, followed shortly thereafter by the Performer 8 and after much R&D the MagicOne came to us. Talk about a startup. This company went from complete obscurity to one of the big players very quickly.Tour Unit
I want to thank HiFri as well as the good people of HiFiGo for sending this unit to me as part of a tour through the US. Also, I want to thank everyone on the tour as I’ve had more than enough time with this set to get a good understanding of it. I feel this is essential in completing a thorough review. Most tours give you a week and then off it goes. So thankfully I have very good experiential knowledge about the P8 to hopefully help anyone seeking to purchase this set. Welp, I think I am ready to get into this one folks. The Aful Performer 8….Non-Affiliated Purchase links:
–Hifigo–Aful Audio
–Amazon
Disclaimer:
I received the Aful Performer 8 from HiFiGo for tour purposes in exchange for a full review. I have not received any payment or any other form of compensation for this review. This set is a tour sample iem. HiFiGo has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to HiFiGo and thanks for reading.
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro Plus
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
The unboxing experience is pretty standard as far as what you will receive upon purchasing the P8. The box is of good size with a picture of the Performer 8 on the cover as well as some specs, the usual. Open up the box and you’ll notice some reading material in a thin box. Remove that section and you’ll see the earphones themselves seated all pretty in foam cutouts along with the carrying case right next to them. Take out that section and you’ll see the eartips also seated nicely in foam cutouts. Looking inside the carrying case you’ll find the cable. All things considered, the unboxing isn’t bad by any stretch, but it won’t blow your mind or anything.
Eartips
The provided eartips are sort-of puzzling to me. I say that because you get six sets in total. They are all silicone, narrow bore tips. Four sets of those tips (S, M, L, L) belong to the same series of tips which are narrow bore, longer, all black. The last two sets of tips are basically the exact same eartip but with colored (blue/red) stems. Very strange. No wide bore, no different style of eartips to fix the sound to any degree. Again, very strange. I suppose it didn’t matter to myself as I used my favorite KBear 07 tips. I found the upper midrange to come across with more presence and the bass region to have more punch using the 07’s. The included tips are perfectly fine, and they do have a firm flange which does well for sealing in most ears so I certainly wouldn’t call them “bad” tips. In most (99%) of my reviews I will tip-roll. I feel it is almost always beneficial unless the brand actually adds in tips which make good sense for their earphones. While the included tips didn’t make much sense specifically for the P8 here, I still do think they are decent tips.
Carrying Case
The included case is pretty cool. It’s a black hockey Puck shaped case that is of good size. I find the leather which covers the case to be a nice touch. You’ll notice the Aful logo in the center and a classy looking stitching around the top. Again, it’s also pretty big inside. Certainly, big enough for your earphones, cable, tips, and possibly a small dongle dac. The lid on the case opens rather easily but stays nicely closed due to the friction of the materials around the lid nice and tight. It doesn’t screw on, clasp, or button down and so I really do like how easy it is to get in and out. If I’m being honest, I usually never use the cases with any set of earphones. However, because this was a tour unit, I used this case constantly and was very happy with it.
Cable
The cable which comes with the P8 is pretty good. I wouldn’t say it is something which will wow anyone. It’s decent. The cable is a 98 wire x4 strand cable. The cable in my package is a 2-pin 3.5 single ended, High Purity Monocrystalline Copper cable with Silver Plating. If any of you are familiar with the Tripowin C8 cable, then you’ll notice this one is very close in almost all ways. However, this cable is a bit more elegant to me. I would’ve liked to see more of a flagship looking cable at this price, but it serves its purpose very well and even looks good paired with the P8 too. Not bad at all folks. You can purchase either the 3.5 or 4.4 at checkout wherever the P8 is sold.
What’d I use
Due to the fact that the cable I was given is a 3.5 single ended cable, I instead went with the awesome KBear Chord 4.4 cable to pair with the P8 and my balanced sources. Folks, whether you actively believe cables make any auditory difference in sound quality or not, I do believe the KBear Chord with its Graphene and Copper mix does help add some warmth into the sound. That cable is fantastic on a budget! Anyways, the Chord is a beefcake of a cable and looks dope paired with most any set. I think it looks pretty fly on the P8 too. One further thing, the P8 will scale with slightly more output and nine times out of ten the balanced jack will provide more output power. I do think it helps with the sound though it isn’t earth shatteringly different.
Build / Design / Internals / Fit
Build Quality
Once you’ve seen an all-resin build, you’ve basically seen them all. They’re really nice but the P8 isn’t anything truly special. It is nicely built though. It has a solid feel in hand and in the ear. The feel is robust for an all-resin design. It is actually constructed by way of 3D printing, which includes the entire shell as well as the acoustic cavity inside. There’s a premium essence about this set. However, I couldn’t say it’s built any better than sets costing 1/5th of the P8. It’s nice but nothing out of the ordinary. You’ll notice the P8 is in two pieces. The Shell and the Faceplates. I only see one small vent hole towards the front and the nozzle is of medium length. The nozzle width read about 6mm on my calipers. Inside the nozzle you’ll see the three tube endings so be sure to not block those with whatever tips you use. I prefer a more semi-wide to wide tip like the 07’s I spoke about. The build is nice, the finish is nice, and the build is perfectly ergonomical.
Design
I suppose that the design will not be for everyone, but I like it and I think it looks very cool. You’ll notice the deep orange, yellows, reddish-purple, and reds on the faceplate but mostly looks like a brownish-orange hue from afar. I also enjoy that the faceplates refract the light in a room to a degree. It looks as though Aful used six different colors of foil on the faceplate and strategically covered them in resin. It is a dope look in the right light as the foil bounces the light around. Aful also added in their name or logo along the bottom of the faceplate which I feel is a class way to go about it. I usually feel disdain for any logos, but this is nice. I feel the Performer 8 is very much a “Fall Themed” iem. Kinda reminds me of the colors of Autumn where I grew up and is very striking. Granted, not everyone wants these colors in their ears and that I understand. Personally, I actually dig blues, blacks contrasted with more vibrant colors, but I don’t think this set is bad looking at all. It’s a cool look and a nice design theme for the price.
Internals
Aful went all-out on the P8 by providing this set with one dynamic driver and seven balanced armature drivers. The dynamic driver is said to be an 8mm driver with a biological diaphragm. The DD covers the bass in total, but Aful also used two BA’s (of unknown origins) to cover this area as well. I’m assuming to add that BA type snap to the mid-bass. They also decided upon two BA’s covering the midrange and two more BA’s covering the top end of the treble. I haven’t found anything which states exactly where the BA’s come from or what type they are, but I can tell you they are there. Aful did a nice job of tucking them inside very nicely.Patent
One sweet thing about this set involves one of Aful Audio’s very own patents (Patent #: CN109803206A). This patent is named “Special Shaped Sound Channel Physical Frequency Division of an Earphone”. Yes, that is a mouthful. Aful also incorporated an air-pressure balance system which makes use of different filters to fine tune the treble area. Aful adds that this system will replicate the sound of electrostatic drivers in this region. Now, I don’t know if I would necessarily go that far but the treble does have a smoothness to it, so I figure the tech is doing something right.Internals cont…
Aful uses a physical style frequency division technology which makes use of sound tubes of various lengths to harmonize the sound waves. Basically, this helps to create a more coherent sound between all of the drivers. If you look inside, you can see a very long tube running from the mid-bass BA’s. Aful states that the tube is actually 46 mm long. You’ll also see a roughly 10mm midrange tubing too. Aful also used an air pressure relief system using dampers which is said to add elasticity and depth to the low frequency of the P8 by way of a catheter tube and filter system. Adding into that, Aful also uses a RCL frequency division correction tech for better help with tuning the P8. I will not go into depth on this tech due to the length at which it takes to explain it. However, I am impressed with how far Aful went to make a solid sounding earphone. Look what this genius company did with the single-BA MagicOne. Quite impressive.
Fit / Isolation
This is one area that astounded me personally. I find the fit to be so good that I may rank it number one next to Aful’s own MagicOne. The fit is incredible. It’s perfect for me. They fit so good you’d think the damn P8 grew there. I get no suction at all as the pressure relief does work well. I also found that the passive noise isolation is great for an earphone. Maybe not stage worthy but fantastic for a casual listening iem. I have zero clue how the P8 will fit you, but I am assuming most people will have a great fit.
Drivability
Mobile Listening
The Aful Performer 8 is a very easy to drive iem. With an impedance rating of 30 ohms and a sensitivity of 115 db’s I am very impressed by how well you can bring this set to good fidelity with even low powered sources. Even listening with my Fiio UTWS5 was a great pairing. The warmer chip of the UTWS5 worked great in creating a good synergy making this setup one fantastic tws type option. Moving up to the IFi Go Blu on 4.4 balanced proved to me for the 1st time that the P8 will scale with power and to the quality of the source. Preferably something warmer. The Go Blu is just that.
I also used both the Moondrop Dawn 4.4, as well as the Hidizs S9 Pro Plus as both devices provided their own flare manipulating how the P8 can sound. The Dawn is a bit more technical, very dynamic, but also more neutral. I certainly enjoyed the warmer and thicker sound of the S9 Pro Plus. I feel the synergizing effect of the S9 Pro Plus was a bit more evident to me.
More juice
As far as extra power, I honestly didn’t feel it is some open-shut case that more power will make this a better set of earphones. I don’t totally agree with that. However, I do most certainly hear a slightly more refined sound listening with my two very powerful daps (Shanling M6 Ultra & iBasso DX240). Both daps set at medium gain. Having said that, I more so feel that the P8 does scale, or better said… improves to the source tonalities and is actually pretty picky too. You’ll find this with slightly dryer sounding or analytical sets from time to time. Eh, who am I kidding, you’ll see this with any set, maybe more-so with the dryer sets. Definitely with the P8.The difference between the ES9038Pro flagship chip of the DX240 and the AK4493SEQ flagship chip of the M6 Ultra is discernible. The M6 Ultra is simply warmer, more silken, velvet, and reacts so much better to the sharpness of a BA timbre to my ears. With the DX240 there is almost a metallic BA type note edge at times. Without question the M6 Ultra was smoother, tighter, and less edgy or coarse. Again, not open-shut and there are variables to that but from my devices this is what I came away with, with certainty.
In the end
At the end of the day, you don’t need a powerhouse of a source device. I feel the P8 much more reacts to the quality and tonality of your source. They’re picky friends. The P8 simply wants something with a tad more thickness and weight, smoothness and warmth to counter the neutrality a bit. I say this but let me also say that these are for my preferences, you could be very much different. So, keep that in mind.
Sound Impressions
he Aful Performer 8 is most certainly a neutral sounding set with only very slight shades of warmth near the low end and some brighness from the highs. This is a neutral sound which is kept in check and very clean. In fact, this is one of the cleanest sounding sets in the price point from my understanding. Everything comes through loud and clear folks. Still, I feel the greatest asset of the tuning comes from the dynamic balance that the P8 has across the mix. You have a pretty snappy transient attack & decay with a hair more sustain in the low-end sub-bass region. Everything else comes and goes very quickly, precisely, and distinctly, with a smooth overall feel to my music listening with the P8.Pint sized sound Between the 20’s
Beginning with the bass region, the P8 has more of a sub-bass tilt with adequate rumble that I would consider just over moderate. The P8 has some haptic energy and “feel” to the rumble, but the mid-bass may be lacking in warmth and slam for some folks. Basically, this is not an overly emphasized bass, but it is a very lithesome, acrobatic, supple and basically a mature bass. Certainly, it’s quality over quantity here. The midrange is mostly unblemished, well separated, gracefully nimble and the timbre is closer to natural. Despite those lofty words, the note weight is pretty thin with a slight dryness to the sound. Certainly not the most musical sounding set. However, the midrange has a very nice sound to it. I don’t hear any great recession and there is a natural type of density to the entire region. I’m not usually a fan of a thinner and dryer sound but I find myself enjoying the P8 quite a lot. I feel the beauty of this set is the roundness and crystalline definition to notes, which sort-of makes up for the lack of note weight and warmth. The treble is emphasized without being shrill. It’s detailed without sounding overcooked, forced or peaky. I wouldn’t call the extension the greatest in the world, but it is very good. The treble has a nice punch and doesn’t come across brittle or splashy.If this is all the further you read
So, if you cannot go any further just know that each area of the mix is very well laid out. The tuning is very nicely balanced, textured, sprightly, and good layering within the sound field. Some may feel the sound is lacking proper dynamics or “fun” energy, but I beg to differ. At least for my own listening enjoyment. There are still some pretty vivacious and full macro-dynamics, but they just come across more vibrant. Low-end notes do have some liquid tactility and a very detailed and technically astute response. But they are simply a bit lean.Again, the bass does lack a bit and doesn’t add any real weight and warmth to the midrange. In the same breath, the low-end is very snappy, detailed and still has some punch to it. The mids are thinner but vocals don’t seem to suffer like a thinner timbre usually does. Now, in some tracks you’ll hear some slight sibilance, but it is not enough for me to label as a “con”. Just the slightest tinges of BA timbre show up from time to time. Beyond that I find the P8 to be a very resolute and vibrant example of a natural tuning. I call it “off natural”. Very close to what I envision real world instruments and voices to sound like, yet with some added luminous color from the elevation up top and the lack of emphasis down low.
Not for everyone
This will certainly not be everyone’s favorite so please hear me out. The sound is going to throw some folks off. In the next sections I will go through each 3rd of the mix and will try my best to outline exactly what I hear. Again, if this is all the further you read just know that this is a technical beast with a very lively sound. It’s clean, it’s resolute, and has very good balance, albeit tilted a hair towards neutral/bright.
Bass Region
The low-end is just like I explained, it’s less than full and not the most bombastic and deep. It’s a good bass but not necessarily a compete bass and it likely won’t fit everyone’s preferences. It’s a quick hitting bass. It comes and goes and doesn’t play around with any atmospheric sustain. Possibly there is some slightly longer sub-bass decay, but I wouldn’t call it an organic sounding low-end. It’s efficient, moderate in quantity, but it will also show up adequately when a track calls for it. Also, this is a bass that won’t infringe on any other frequency. Aful crafted this set to keep it all clean and fleet footed. Great for fast paced tracks and doesn’t easily sound congested. Ever.Sub-bass
The sub-bass has the majority of low-end emphasis. I feel it’s just enough to create a balance across the mix. It steps up when called upon. For instance, I hear a nicely guttural deepness in the song “2040” by Lil Durk, but also, every set sounds pretty deep and authoritative with this song. The beauty of the P8 is its ability to not lose any clarity on the rest of the track while still keeping that edgy rumble. Another track is “Heat Waves” by the Glass Animals. There is a slight melody which begins this track, but it runs straight into a heavy bass drop. I love that the P8 hits with this distinct and hard-edged meatiness. It isn’t bulbous or heavy handed but it’s more natural to my ears. Well, as natural as this track can sound. Honestly the sub-bass has very few shortcomings and comes together very well for me and my library.Technical sub-bass
“Groove” by Ashley Monroe is an example of a sonorous sub-bass hum and thrum that stays so very clean and clear with a more technical sounding sub-bass. Folks, the sound of Ashley’s vocals running in tandem with the bassline is beautiful. Her voice and all other instruments separate almost perfectly. Nothing is out of place and all of it is very coherent in the mix. I could give you a multitude of tracks I have notes for, and each follows the same trajectory. Clean, deep, separated, detailed with a sub-bass that is represented well. Could it have a bit more rumble? Without question. Again, nothing is for everyone. Yet at the end of the day, the Performer 8 has good extension down low with very good speed for complicated bass passages.Mid-bass
When I’m listening to the mid-bass section with the P8 I do find that it lacks just a bit for those fans of a bigger bass section, but I also feel the balance is great and works well for the overall sound of the P8. That’s for me though. However, I don’t find this mid-bass lack a huge issue because the sound is so well rounded in its slam. There is an elasticity to the sound down low and there is actual texture and great definition to the sound. But best of all is the clarity and precision in the slam and boom. Much different from the more lagging decay of the Performer 5, it is very easy to hear the refinement on this set. I’m sure many would consider this a definite upgrade from the previous installment in the series (P5) but that all would have to coincide with your preferences.Slightly less full sounding
However, the slight lack of mid-bass authority, warmth and fullness does take away from some instruments like bass guitar. For instance, “Feelin’ the Miles” by The Wilder Blue incorporates a bending and rolling bass guitar riff that needs a full-bodied groove. The P8 doesn’t quite get there. The sound is more thin and slightly more edgy/vibrant then it is bellowing and droning. Another instance of slight lack is in big booming kick drums. Like in the track “Billie Jean” by Weezer. One of my most favorite test tracks. It’ll tell you so much about the low-end in easy to digest samples of kickdrum beats. Mostly the sub-bass will show up and provide some feel to the boom, but I notice that some of the fundamental frequency boom has a softened leading edge and just a tad less emphasis than perfect. Well, I have yet to hear perfect, so I think the P8 is doing just fine. That said, the panging snare drum paps hit with a strident sound that has some energy to it. Slightly less natural sounding then it would be if there was more warmth but very nice for casual listening. Fun even.Further thoughts about the bass
I don’t have much more to add as I think you have a pretty good idea how this set sounds down low. It isn’t the most emphasized and assertive as a whole. It is dialed back but I also feel this was very much intentional. Aful does nothing by accident folks. The bass is one which leaves a crystal-clear midrange by rolling off the mid-bass just short of blending the frequency too much. Also, I feel the low-end BA’s do a lot to add that energy to the note edge on many tracks. There is an expedient nature to the bass. It’s very fast, very tight and micro-dynamic subtle shifts are well rendered.Downsides to the Bass Region
The obvious downside is that the bass isn’t the biggest, which will also obviously “not” appeal to bass heads, or even moderate bass lovers. This isn’t a super “fun” bass either, for most hobbyists anyways. You won’t get that satisfying decay that some sets will give you. It isn’t the most atmospheric and organic in that regard. Almost too swift to be natural. At least that’s how I hear it and that is certainly debatable. All that said, I think it sounds great per the tuning that Aful was going for. Truly a special for fans of this type as it’s a low-end that’s mature and clean.
Midrange
Looking at the midrange, it’s not a very thickly weighted or warm midrange. It simply doesn’t have the extra boldness to it that a purposeful mid-bass bleed can offer. I also wouldn’t say the midrange has a lot of fullness in the structure of its notes. From the low-mids to the upper-mids the P8 comes across leaner than it is rich. I’d even venture to say that the mids are drier than they aren’t though the mids also aren’t completely devoid of lushness. The mids are almost perfectly neutral to my ears with just some slightly bright coloration. This may sound like drawbacks, but I find the midrange to be fantastic. Just because it isn’t syrupy or milky in its tonal weight doesn’t mean it doesn’t have density and even some smoothness. Another thing, just because the sound is drier and more analytical doesn’t mean that macro-dynamics are forgotten. I find the sound to be very energetic and with plenty of dynamic flare with a very nice stage presence is this region.Lean-lush
Transients are fast which tightens the note structure. However, in that tighter structure there is some solidity and clean neutral density. This is what I always refer to as “lean-lush” and the P8 holds this moniker like a badge of honor. Please remember the P8 is not what I would consider a “Musical” sounding set. There isn’t that atmospheric emotion that some good smoothness, warmth, and texture can provide, which I prefer. However, the P8 makes up for it with cleanliness, clarity and a lean-lush vibrant texture that is very well defined in the mix. Maybe it isn’t the most musical, but the P8 is still melodic for what it is. It is very well detailed with even the most subtle of details displayed nicely against the neutral balance of this set. No one frequency masks any other frequency which helps tremendously for detail illumination.Lower-midrange
The low-mids come across pretty smooth with a nice transition from the bass, even with the slight roll-off. No, there isn’t that ultra warm and bold male voice, but most males also have a very poised and composed sound. Take Larry Fleet in the track “Where I Find God”. His southern rasp is edgy, very edgy. It’s coarse and can so very easily derail on so many sets. So easily his vocals can sound almost metallic and grainy in sets that don’t have good control over the region. Not on this set, no sir, the P8 holds that edge very well, even in Larry’s more vivacious vocals. There is some real note integrity here that I find refreshing. It almost makes this less than musical set kind of engaging. There is something to be said of a set that has great clarity and refinement.A small observation
Listening to the bass singer Avi Kaplan sing “First Place I Go” is almost a double-edged sword for me. On one hand the definition of his vocals is great. He comes across almost magisterially in the intonation of his vocals, which is helped by the crystalline note outline and fast release of each note. It’s lean-lush in every sense of the word. Not syrupy and sonorous in his inflection but still prominent, forward sounding and bold. However, in this lean-lush type of fast release density you also don’t have the deepness or full bellow that his voice usually sounds. There’s a bit more luster to his vocals with the P8. Just a tad too vibrant then what I feel his voice should sound like. Please don’t take this as a bad thing but it’s simply an observation. Most males sound very nice.Upper-Midrange
Females in the upper midrange certainly have some shimmer and vivacious behavior to my ears. The upper-mids come across a hint brighter tonally with good note definition. Now, with that you also do have some moments of sibilance. However, not so much that it is an annoyance for me so take that for what it is. Still, in the grand scheme of things females come across resplendent and melodic, albeit slightly drier than it is moist. Listening to Olivia Rodrigo in the track “Teenage Dream” she sounds so effortlessly svelte and soft with a whispery sensualness to her voice in so many lines of this song. Also, at the same time she comes across vibrant and each note she sings has this glass lined cleanliness to it. She sounds forward in the mix yet not overbearing. To me her vocals sound really nice.BA timbre?
I say all that, but I also hear some less than stellar sounding female vocals like Jess Williamson on the track “Stampede”. Not bad by any stretch but her voice does have a hint of metallic texture to the crest of her notes. Her vocals aren’t as full in body as they can be. She sounds forward but almost tinny, if that makes sense. Perhaps one would call that BA timbre? Still, these issues are few and far in between and seem to only show up with a coarse type of voice like this. It simply isn’t as musical as it could be. Now, I could point to quite a few tracks which go against this example, but I felt the need to add in this little rebuttal to the favorable words thus far. For the most part females sound well developed and framed nicely in their dry and analytical form.Instruments
As always, I will keep this short and use very broad strokes to preserve my word count. Instruments are a part of my listening which could derail into a novel if I’m not watching myself. So, generalities it is. Strings are more lurid and striking than they are organic to my ears. For the most part. However, harmonics come across pretty nicely for an analytical sounding set. Details emerge with ease as every scrape, scratch and pluck is highlighted. Strings are just a hair more energetic and brighter in its fundamental tone than perfectly natural. Whatever “natural” is. Percussion is also more energized with a sharpness and bite to them. Especially snare drums, cymbals and hi-hats. Now, yes, they are energetic, but the snap and pang of percussion hits are like a perfect exclamation point on this set. There is a directness and exactness to the sound which is very nice to me. I don’t hear anything tizzy or splashy at all. Piano sounds resounding and tuneful for the most part. Maybe I could use a bit more weight to some lower pitch tones but not a big deal. Violin can sound anywhere from silvery, sharp and edgy to mellow and very charming. Forgive me for my choice of descriptors but this is what I hear folks. I honestly don’t hear anything odd or weird in timbre with most instruments. Just know that all instruments will indeed have a bit more bright/neutral sound than usual.Downsides to the Midrange
If I were to pick some downsides or issues with the midrange I would 1st point to the note weight. The P8 will not be a set for those who enjoy a richer, more moist, and emotionally charged sound. The mids are thinner and drier to my ears which is a direct connection to the lack of warmth. Next, I would say that the overall tonality has some spritzes of brightness which does color the sound to a degree. There are also times when I do hear some sibilance in this region. I mentioned that it isn’t enough to bother me but… It can be bothersome if you focus on it. It isn’t in any track either but instead sibilance only occurs in tracks really prone to it.However
So, to counter all of that I would say that the detail retrieval is top notch folks. I mean “top notch”! Transient swiftness is more than evident and the imaging in this region is fantastic. Separation of elements of the stage is almost class leading. Obviously, the BA’s within are very nice drivers which can handle even the most complicated tracks with ease. You have this marvelous technical ability all the while the P8 isn’t completely devoid of musicality. Also, there is great air to the sound with an openness that is refreshing. Still, this is certainly not a sound that is for everyone, that’s for sure. If it was my perfect preference, I would say that I enjoy a warmer and fuller sound in this region, but I can certainly enjoy this set.
Treble Region
Listening with the Performer 8 I found the treble to have a nice luminous sound without going overboard and never really causing any offense to my ears. The greatest strength of this treble is in its balance and the fact that the treble adds some levity to the overall sound of the P8. This set would be pretty dull had it not been for the tuning up top. In fact, the treble is very well tuned in my opinion. The detail retrieval up top is something to be admired from other sets in the price point. I really mean that with solid conviction folks. There is awesome note definition and awesome resolution in this region. Each note has its own well-defined structure to it. This isn’t some forced resolution either because there is a nice balance across the mix. In fact, I wouldn’t even say this is an unusually bright treble either. No sir, I would instead say it is simply a refined and talented treble region that offers excellent clarity and separation.Kept in check
Perhaps, the level of vibrance will be too much for some warm and dark lovers but coming from someone who enjoys pretty much every sound signature I can tell you that it is not too much for me. I never hear any undue and obvious glare or piercing peaks in my music. The only objection I would give is that the treble does add some extra energy to other regions at times and does color the sound a little bit. Most notably in the upper midrange. However, for the most part the treble is kept in check. As though it is brought right to the cusp of a peak, but an imaginary governor holds back the sharpness to manageable and clean levels. The awesome thing is that all this energy comes across smoothly in its definition. Yes, the P8 can come across crisp, but only when called upon. What it isn’t is grainy or tizzy and not even close to shrill.Examples
Listening to Billy Strings in his track “In The Morning Light” I hear very delicate micro-dynamic shifts which illuminates even the faintest and most subtle plucks of the guitar with a tinsley and chimney energy that is very nice to hear. This track features almost dainty notes which are laced in intricate details. Or his track “Ice Bridges” which is another of his rapid-fire banjo tracks. I’m telling you the P8 handles this track and laughs. Too easy. Every modulation of the melody is accounted for and cleanly displayed with roundness to each note. Possibly treble heads would like more of an electrostatic type of treble punch but I gotta tell you folks, the P8 brings you close to that. There is some haptic recognition to notes but I still find now weight to be slightly thinner and still drier than it isn’t. Having said that, the treble is very well accomplished.Downsides to the Treble Region
To pick apart this treble region would be easy for someone who enjoys a thicker and rolled-off treble experience. They could certainly say there is too much lower-treble energy, and I wouldn’t disagree per their preferences. Again, those who are very treble sensitive are not going to enjoy this treble region. There are moments of some shoutiness and the energy is the type which adds an overarching layer of brightness. Granted, it is kept in check for me but I’m not everyone else. You may feel it is way too much. However, I honestly cannot get too down on this treble region as I feel that the P8 is tuned very well. Detail retrieval is fantastic, and I do mean in “every” sense of the word fantastic. The sound is open, airy, and so very well separated. There is a cleanliness to the note outlines up top which is very nice to hear and extension past 10k is admirable without sounding splashy. This is a sparkly and shimmery treble without the shout folks. Nice job Aful!
Technicalities
Soundstage
The soundstage has above average width and good height for a fuller sounding intimate experience. However, I do feel that depth could’ve been a bit more… deep. The sound stretches pretty wide to my ears and while the whole presentation is more forward sounding, I still find it big in all directions. It’s full sounding, big sounding. Yet also close. I do get a sense for layering of sounds, but I also feel that the depth leaves a little bit to be desired. However, in the grand scheme of things the soundstage is not one which sounds as though it lacks. Depth is a difficult thing to hear until you hear a set that is obviously deep with easy to hear layering. The P8 does layer the sound but something is slightly missing here. Again, it certainly doesn’t lack to me so take that for what it is.Separation / Imaging
The Performer 8 excels in separation of elements on an imaginary stage. It has all the good quality attributes to help in this area. Tight transients, open and airy sound, clean note definition and resolution and a good-sized stage. It’s almost as though there is room and air for each instrument to breathe. There is also some roundness to the sound of instruments and layering of those sounds. It definitely isn’t flat which helps this drier and more analytical sound to feel more engaging and 3D. Imaging of instruments and vocalists is very well laid out. Whether left to right or even front to back (to a lesser degree) there is a definite all-around image and nice placement. As it should be for this price. You should expect the P8 to perform here. It would’ve been a tragedy if they didn’t get this part right.Detail retrieval
Another thing the P8 excels at is detail retrieval. It simply has all the tools to compete well against any set within the price point in illuminating all the subtleties within a track. Again, the P8 has great resolution, tight and compact transients that come and go quickly. The sound is balanced across the mix and so you won’t have the bass overshadowing any other frequency or even the treble for that matter, most of the time. I don’t think anyone will be left wanting if you are after an iem that excels in the analytical type of approach, and you desire to have some of the best detail retrieval within the price point. My opinion of course and also, I haven’t heard every set in the price point so do keep that in mind. I realize it is a lofty statement whenever I am including the word “best”. However, I really am impressed at the P8’s ability to resolve micro-details as well as resolve all the micro-dynamic subtle shifts in such a clean manner.
Comparisons
Xenns Mangird Tea ($329)
The Mangird Tea is a set which has been a mainstay in the price point for many years now. Proving that good sound is good no matter what. Of course, we have a Tea 2 by now, but I actually prefer the OG model. The Tea is a seven-driver hybrid model consisting of 1 DD & 6 BA’s and has been lauded for its smooth vocals and balanced sound. I chose the Tea for comparison simply because so many folks have heard it and plus, I understand its sound very well and have spent years dissecting it and enjoying it. Still, after all these years the OG Tea is one of my favorites in the +$300 price point.
Differences
Aesthetically there really isn’t much which differentiates the two. Both are all resin builds and both have a premium feel and a dope look. Personally, I prefer the look of the Tea but that is neither here nor there as you could feel totally different. I do think the P8 has a bit better accessory additions for a better unboxing, but honestly it is very close between the two. I will say one thing, it is very possible to find the Tea for much less than the MSRP. In fact, Linsoul has it for $269 at the moment.
Sound Differences
The first difference that comes to mind is the Tea has a bit more warmth across the mix and actually sounds a bit better balanced though it is very close between the. The P8 on the other hand comes across closer to neutral and even slightly brighter than neutral. The Tea has the smoother sound across the mix with transient behavior which seems a bit more drawn out whereas the P8 is tighter and more abrupt in its decay. the Tea sounds softer and easier for long periods of listening as well. The P8 on the other hand has a bit more hard-lined solidity, for the most part anyways.Bass Region
The Tea has slightly more impact in the low-end though the graph seems to make me a liar. However, I definitely hear more warmth and low-end oomph on the Tea. Despite that, I find the P8 to have the cleaner and tighter low-end with better separation. The Tea has a bit more sustain and is a bit more atmospheric in the bass whereas the P8 sounds more immediate down low. I can tell you this, I don’t feel I need to add a bunch more mid-bass emphasis on the Tea as I do the P8. Both sound fantastic for what they are though. Perhaps the Tea is a bit denser in its bass but also a hair fuzzier at the note outline.Midrange
This is an area that the Mangird Tea has been adored for over the years. When it comes to vocals the Tea is one of the 1st sets that I recommend. The Tea has better note weight and is simply more organic in its timbre. The P8 adds a bit more vibrance across the midrange. However, the P8 is certainly the more technically astute set. If details and separation are what you are after, then you’ll prefer the P8. It has better separation and imaging. Still, for vocals and for an emotionally engaging sound the Tea is much better suited for it. You’ll be hard pressed to find a better set for vocals. The two are a bit different from each other though on paper you’d think they are very close in most ways. The P8 is just a bit brighter, and transients are quicker, tighter and more exact. The Tea is smoother and closer to a velvet sounding iem.Treble Region
Certainly, the P8 is brighter and has more added levity to its overall sound. The Tea on the other hand seems a bit more cohesive in its balance. Between the two the P8 has a bit better extension into the highest of highs, but the difference in extension is minimal. Certainly, the P8 has the snappier and more energetic treble region with better detail retrieval and better separation. However, the Tea is no slouch in this area, but it is better known for its musicality and smoothness rather than its technical abilities. The Tea is less offensive and easier to stomach over long periods of Listening while the P8 seems to take you right to the point of a peak and stop just short. One more thing, the P8 has much better extension past 10k and simply seems to extend the stage a bit more in this regard.Technicalities
Between the two the P8 pretty much wins out across the board with better detail retrieval across the mix, better separation and better imaging to my ears. The only thing the Tea has an advantage in is its soundstage. Granted, the P8 sounds wider than the Tea, but I feel there is better depth of field on the Tea. However, the Tea wasn’t tuned to be a detail marvel quite the same as the P8. The Tea is a smooth, coherent and musical sounding iem. The P8 is just a beast in the detail department and just about every area that equates to a “technicality”. Truly these are both special in their own ways.In the end
At the end of the day these two are both fantastic iems. Do you like a set which is more analytical rather than musical or musical rather than analytical. That really is the difference. The P8 isn’t as atmospheric and organic while the Tea isn’t as clean lined and agile. Both fantastic iems and both really perform well. I do think that the P8 is the more refined sounding set with a much cleaner approach and honestly, it sounds as good as it costs. The Tea is fantastic, but many sets can equal what it can do for less. Other than vocals. I still feel the Mangird Tea is one of the best vocal sets under $500.
Yanyin Canon II ($379)
The Yanyin Canon II is simply one of my favorite iems, at any price point. I actually reviewed the Canon earlier this year (Canon II Review) and gave it very high marks. The Canon II is a five driver Hybrid with 1DD and 4BA’s. The Canon II was chosen just because it offers a much different sound signature and probably a different set of audio fans which coincidentally helps a lot helping to explain the sound of the Performer 8. I truly enjoy both iems but I am a bit partial to the more fun and robust Canon II. That said, there are a few areas where the P8 out-classes the Canon II and vice-versa.
Differences
Both iems are fairly close in price. One (P8) is an 8 driver Hybrid and the other (Canon II) is a five driver Hybrid. However, we all know that driver count is meaningless if the tuning isn’t done well and cohesive. Thankfully both iems are very well done for each respective sound signature. I feel the Canon II is a bit more robust in build though both sets are all resin builds. The Canon II has the luxury of having two dipswitches which do affect the sound quite well so that is something to consider. Without question the Canon II is the better-looking set, well, in my opinion anyways. I much prefer the fluorescent blues, blacks, greens and the design is simply better to me. Tougher looking. Both sets have a nice unboxing experience, and both sets offer quality accessories for the price.
Sound Differences
Between the two we have some pretty drastic differences in overall sound, tonality, & timbre. The Canon II is a warm sounding set with a thick note weight and a big macro-dynamic expression. The P8 is a neutral sounding iem with a tilt towards bright and thinner note body. It’s also still dynamic and energetic but not with the same syrupy type of body to notes of the Canon II. The P8 has swifter and more dexterous transients while the Canon II is what I would call “agile for its tuning”. One set is warm, thick-lush and smooth and the other neutral, lean-lush and an analytical dynamo. The P8 has better resolution and clarity throughout but the Canon II is certainly the more musical of the two.Bass Region
This’ll be quick, the Canon II is much more guttural, deep, and thickly weighted down low yet very nimble for such emphasis. The P8 is exactly as I’ve explained this entire review, it’s leaner, more vibrant in its punch and less of a nuisance to other frequencies. If a big and dense boom with a tacky note edge while still having a very nimble agility meets your preferences, then the Canon II is likely more up your alley. Or, if a punchy and very taught bass with a clean and precise note delivery are more likely to catch your attention then the P8 would more closely fit your preferences. The biggest difference to me is the quantity here folks. Both low-end displays of both sets are very well done for their respective tunings.Midrange
The P8 comes across with better clarity and simply has the clean precision of a great analytical iem. The Canon II on the other hand has the smooth musicality of a nice vocal set. I find the Canon II and the P8 sound equally close in the sound field for stuff like vocals and some instruments. However, the P8 simply comes across thinner and slightly more artificial compared to the slightly richer sound of the Canon II. I do feel that vocals come across better in the Canon II throughout the midrange and instruments have that warm/neutral approach with the clean note delivery to really come across nice. Now, the P8 is better for fine listening and better for picking apart the details in a track. I should also add that the P8 is much more prone to sibilance in comparison to the great control that the Canon II was tuned with.Treble Region
Both sets have very nice energy up top, but the running theme carries in in this region. That is; the P8 is thinner, higher resolution, better detailed and snappier. Also, the Canon II is more dense, better haptic recognition, better treble punch and only slightly less detailed. Mainly on heavier bass tracks you’ll hear some masking up top on the Canon II but for the most part I hear great details on both sets. Extension is nice on both sets with good info into to the upper-treble. I do find the P8 to be quite a bit brighter to the less offensive Canon II. Both offer very nice treble experiences.Technicalities
Most technicalities will go to the Performer 8. The tuning is such that separation, transient swiftness, resolution, details and clean note definition are its superpowers. Of course, these attributes take away some of the more musical traits that so many people look forward to. So, it’s a give and take. However, both iems have a nice technical playback but the P8 is simply more inclined to show off its technical abilities. The only area the Canon II supersedes the P8 is in its stage depth and overall 3D holographic sound.In the end
When looking at these two sets I can only refer to this comparison as a preference battle. You’ll know right away what you are more aligned with just due to the drastic difference of tuning between the two. At times I use the term “preference battle” often when comparing two sets of entirely different sound sigs that will offer obvious and distinct differences and anyone reading will likely fall into one or the other camp. Personally, I enjoy the Canon II quite a bit more. I enjoy the musicality of the Yanyin set and I am not losing much in technicalities. I love the deep and resonant bass, but I also love the clean sounding playback, the juicy lean-lush vocals. I’m sure some will much prefer the P8, and I can totally understand that. Both sets are absolute beasts in their price point, and both represent the best that their price points offer.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Aful Performer 8 ratings below, that would be $250-$350 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $250-$350 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 8.0 Built well but nothing out of the ordinary.-Look: 8.0 Looks great but maybe not for everyone.
-Accessories: 7.5 Nice accessories
–Overall: 7.8
Sound Rating
-Timbre: 9.1 The timbre and tonality are very good.-Bass: 8.3 Mature bass that is quality over quantity.
-Midrange: 8.5 The mids are exceptionally good on this set.
-Treble: 9.4 The treble has good body & has great control
-Technicalities: 9.8 Technical BEAST!
–Overall: 9.0
Ratings Summary:
I feel the ratings pretty much explain themselves, but I do have to explain at least for a few categories, just for full disclosure. First off, I gave the P8 a rating of “9.1” in the “Timbre” category. I honestly feel the timbre is great on this set, but I do hear some hints of artificial BA timbre at times along with some sibilance too. Still, the neutral and natural sound is just too nice to ignore. So yes, it may be a high rating, but I feel it qualifies. You may disagree and that is understandable. The next rating which could be argued is the “Bass”. I feel the P8 is worthy of the very lofty rating of an “8.3”. I could see many folks thinking I’m crazy with such a small quantity. Folks, this bass is very good, and not because of its quantity. This is a very mature and very clean bass with a nice punch that is too resolute and defined to give it a low score for me. I suppose those are the only two ratings that are questionable to me but please comment if you feel differently.
Is it worth the asking price?
For me this is an easy answer. The Aful Performer 8 is simply fantastic for what it was tuned to be. Too good to simply brush off folks. However, the P8 is without question a polarizing set as it is so one sided in its delivery. There will most certainly be plenty of hobbyists who don’t dig this type of sound. So, I could see many of you thinking there is no way you’d ever put up $329 for a set like this. That all said, as a reviewer I feel that what Aful intended the P8 to be they accomplished. Not only did they accomplish their target, but they created a fantastic rendition of that target by creating a beautifully tuned iem.The Why…
Because the P8 is built very well, accessorized well according to the price point and has a premium look and feel. As always, the most conclusive reason rests in the P8’s ability to playback music. Friends, the P8 has an elastic dexterity with probably some of the best resolution between $300-$400. The sound is clean to its core, precise across the board from the bass to the treble and each area of the mix has solid representation. The bass is agile as it gets and can take on complicated tracks very well. The midrange is a nice mixture of lean-lush with good density which remains very transient quick yet also melodic as well. The treble is very well detailed and showcases even the most subtle & finite little details with relative ease. The treble also has nice energy that is some of the best in the price point from my perspective. If an analytical sounding set which wears its resolution as a badge of honor sounds like something you’d enjoy, then it’s highly likely you’d agree… The Aful Performer 8 is worth every penny.
Conclusion
To conclude my full written review of the Aful Performer 8 I first have to say thank you to HiFiGo for providing this unit for review, as well as HiFri for conducting this tour through the US. I have greatly enjoyed my time with the Performer 8. Even though the P8 isn’t my favorite sound signature I do have quite a bit respect for what Aful was able to create and I do enjoy my time listening with this set. So, I again thank Aful and HiFri for enabling me to have this enjoyment. I also want to thank you, the reader, for clicking the link and checking out my thoughts. It always means a lot.Other perspectives
Folks, $329 is not cheap. It is a lot of money for any set. So, I want to implore you to check out other thoughts and perspectives concerning the Aful Performer 8. We all have different tastes in what we like and dislike, different music libraries, different gear and we haven’t all been down the same journey through audio. Some perspectives will come from a person with even more knowledge who has seen even more of what is out there and others maybe not as much. The point is, we are all different and each can offer a different view of this set. So, read, listen to, or watch other thoughts and I do hope you get it right and get the most out of your money. I think I’m done folks, please take good care, stay as safe as possible and always… God Bless!
NeonHD
I appreciate the extra lengthy review! Happy to see Mangird Tea in the comparison, those are my main drivers so this review helps me considerably more compared to other reviews.
Ceeluh7
That's great! I was hoping for that. Coming up with comparisons which makes at least some sense isn't always the easiest thing to do. I'm glad. Thank you
KZ PR3 Review
KZ PR3 Review
Intro
The KZ PR3 is the set that I am reviewing today. The PR3 comes from the people of KZ Acoustics, and I’m very excited to hear what they have cookin’ on this latest budget planar iem. Of course, I thank you for checking out this review and do hope it helps you out folks. I also thank KZ for providing the PR3 in exchange for a full review at Mobileaudiophile.com. I write these “intros” prior to doing any listening (most of the time) so I’m really curious as to how KZ will build upon the previous generation KZ X-HBB PR2 (PR2 Review). I’m curious as to what the tuning is going to be as most of the previous planars from KZ have been a bit more analytically inclined and more speedy-bright with slightly emphasized lows. We shall see. One thing is for sure, I’m happy to report back what I hear and always thrilled to be able to spend time with my music.KZ is one of those brands that does a lot for a little and is constantly pushing the boundaries for what your money is able to buy. Always under the pretense that KZ can make it better for cheaper. Now, not everyone is a fan and there is some controversy surrounding KZ, but I am not interested in this stuff friends. I review what is in front of me and tell you people if it’s bad or good and for whom the device I’m reviewing should be for. I try to always answer if the set I’m reviewing is worth the asking price and I try my best to help the reader get a feel for the sound. So no, I’m not interested in the other stuff. I’m not interested in controversy and speculation.
Many KZ/CCA sets reviewed…
The KZ PR3 is only the latest in a long line of planar magnetic earphones from KZ. I have been highly partial to a few. For one, I was one of the earliest reviewers for the KZ X-HBB PR2 (PR2 Review) which did have the black filter mesh and I gotta tell you folks, that set is very good. I’ve also reviewed the KZ PR1 Hifi (PR1 Hifi Review) as well. On top of those I’ve reviewed many iems from KZ/CCA and to be honest they are all good earphones. None of them are not worthy of the price tag and all of them replay music well for at least some people’s preferences. Here is a list of some of the KZ/CCA sets and audio devices I’ve reviewed over the last couple years. Please feel free to check them out if you are curious.
–AS16 Pro
–VXS
–CRA+
–PR1 Hifi
–EDCX
–Linglong
–ZVX
–D-Fi
–X-HBB PR2
–Duo
–EDXS
–AS24
–Krila
–AZ20
–ZAT
–Rhapsody
As you can see I have at least some experiences with this brand and for the most part I usually come away enjoying my time with them. I know many of you are curious about this latest planar set and I do hope I can provide at least some understanding as to what you will be getting. The PR3 comes in with a sales price of $48 at the moment. I think I’m about ready to get into this review folks, the KZ PR3….
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro Plus
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Full Review can also be found HERE
Packaging / Accessories
Unboxing
Let’s start with the unboxing. Well, there isn’t much to speak on actually. Of course, KZ typically will always provide a slightly underwhelming unboxing experience. However, they usually also put the money into the earphones rather than provide some luxurious unboxing experience. Anyways, the box that the PR3 comes in is a very small white box with a picture of the PR3 in the front. Open the box and the PR3 will be staring back at you. Under the earphones you’ll see the cable as well as the tips and a manual. That’s it, not much to report.
Eartips
KZ added in a total of four sets of tips in the packaging. They provided three sets (S, M, L) of some very useful eartips in the KZ Starline tips. Most of you understand and know these tips by now. They also added in one pair of medium sized foam tips. The foamies are of decent quality and have a good slow-rise seal. I like that you can pinch the foam and it doesn’t rebound in a split second. It’ll give ya some time to get them in your ears. It’s the little things folks. Anyways, I feel that I needed to use the foam tips with this set. The KZ Starlines are great but there’s a hint of treble sheen up top which the foamies did a nice job of attenuation. To a degree anyways. They helped though they were not able to completely block out the bright and sharp pierce up top. You may adore the brighter replay but for me I needed the foams. I also used some hybrid silicone/foam tips which were pretty good and Final E-tips seemed to work okay as well.
Cable
Like any and every earphone from KZ you will always receive the same KZ cable. The cable I’m referring to is the same opaque/white Silver-plated Copper cable with the QDC 2-pin connectors and the right angle 3.t single ended jack. Folks this is the same cable you get with the $119 KZ AS24. If you have bought any set from KZ or CCA over the course of the last few years, then you know this cable well. I actually swapped cables right away to a 16-core white Fedai SPC balanced cable for a couple reasons. One being aesthetic as I feel the Fedai cable just looks slick with the PR3. However, I also chose this cable for the sound. For whatever reason the Fedai SPC cable knocks some of the upper treble sheen down with a little warmer feel to my music. Not much but it helps. If all you have is the included cable just know that you are perfectly fine. It really isn’t a bad cable at all and is perfectly useful.
Build / Design / Internals / Fit
Build Quality
The build of the KZ PR3 is similar to past KZ planar sets in that it’s made of a resin material on the shell and the faceplates are made of an alloy. The shape and style of fit is exactly the same as the PR2 and a couple others in the KZ lineup. The faceplate resembles an open-back style as it has metal grills, but I don’t think it is open at all. I’m pretty sure it’s all for aesthetics. The nozzles are of a medium length and the Shells have what I would consider an ergonomic design. Honestly the PR3 is built very well.
Design
One big upgrade in my opinion is the actual look of the PR3 from previous generations. I love the metal grill this go round as it just has a more premium look to it. You also have three allen-key screws which hold the faceplate on which is a dope look. I feel KZ did a great job once again. Truthfully, KZ always builds better than the price of an earphone. I think the design is fresh, industrial, and very bold looking.
Internals
KZ outfitted the PR3 with a self-developed 13.2 mm Planar Magnetic Driver which has always been a cool thing for the company. Many planars on the market use much the same planars yet with slight tuning variations. It certainly seems as though KZ’s planars are of good enough quality and you are certainly getting the planar sound out of their sets. Not much more to say about that.
Fit / Isolation
I have always gotten a good fit from this body style and shape from KZ. The PR3 has a pretty universal shell which I’m sure should fit most people. It isn’t too large like their AS24 or ZAT but isn’t a small ear set either. It’s right in the middle and relatively ergonomic. Isolation is also decent for a casual listening iem. I really don’t know how I would quantify how well something isolates from outside noises so I will just say they are average. About the same as any iem with a good seal that doesn’t have a semi-open or open back style.
Drivability
Mobile Listening
Like any planar the PR3 does best when paired with a more powerful source. That said, they can fare just fine with simple dongle dacs. With an impedance of 15 dBs and a sensitivity of 98 dBs the PR3 isn’t the easiest to drive to good fidelity. Listening with the 3.5 single ended jack on any of my devices forced me to crank it up a bit. However, that only brought me to volume. To get the most out of the PR3 I needed to go with 4.4 balanced. 4.4 on IFi Go Blu was plenty and the same can be said for the Moondrop Dawn 4.4. It’s just that last little bit of power which I feel helps.
Daps
Using the iBasso DX240 I used the 4.4 balanced jack and kept it strictly on high gain. It could’ve been in my head (probably), but I felt that high gain simply sounds tighter and more controlled to me. Now, these two don’t mesh very well as far as synergy goes. I certainly heard more planar timbre with this setup. My favorite way of hearing the PR3 actually came from listening with the Shanling M6 Ultra. I feel you need a more velvet source, something a bit warmer. Anything to offset the brightness of the PR3.
In the end
If you are purchasing the PR3 I would advise something with at least decent power, but also of good quality. The PR3 can run off of lesser powered sources but I don’t feel you are getting the most out of it. I think a good and strong dongle dac or dap with adequate power should suffice. Preferably something with a warmer tonality to counter the bright sound of the PR3 as well, though anyone who enjoys this bright neutral sound will not need to counter it as much I’d assume.
Quick (pint sized) Sound Impressions
Note: I want to preface the entire sound portion of this review with a few things. First, I burned this set in for around 100 hours and I did notice a slight leveling out of the brightness. Couple that with foam tips and the glare is a bit more bearable for me. For this review, I used flac or better files which are stored on my devices, and I used every gear listed at the top of this review to perform critical listening.This portion of the review is where I can kind of break the sound down to a peanut size for folks who don’t want to read the whole thing. I can get pretty long winded so… I did it for you, and also, I understand. Anyways, the sound of the PR3 is a slight V-shaped sound with a strong emphasis in the upper regions making the sound tilt heavy in that direction. I would call the sound neutral/bright depending on the track, the volume you listen at, the source you listen with, and the tips you use.
Between the 20’s
The bass is very fast, snappy, but not very deep and not super dense. The bass does have a slight punch as well but is not very authoritative. However, details are easy to hear, and the bass is far from sloppy. The midrange is recessed to a degree and comes across pretty neutral throughout. I find them to be technical at their foundation with great detail retrieval and a lean expression. The sound is energetic with a fairly sharp pinna rise which is anchored by the treble emphasis. This adds some brightness and some slight glare on the right tracks. Resolution is fantastic as well as separation and good imaging. The treble region is very strident yet also very snappy, every last detail can shine through. It has great extension but can be fatiguing for some as they come across highly energetic and bright.If this is all you read…
If this is all you read just know that the PR3 is ever-so-slightly dry with some smooth undertones and equal parts crisp at the note outlines. This is not a set I’d necessarily call musical. Instead, I’d call it more analytical and energetic with its rapid-fire transient response and slightly thinner note weight. The stage is above average in width with less depth and all other technicalities are very close to class leading for me. Again, if you love quality boosted bass, then the PR3 is probably not the set for you. The PR3 lives and dies with this punctual and instant transient attack and decay which provides ample room for good separation and spot on imaging. However, the greatest strength of this set is its ability to resolve even the tiniest details, even rapid-fire details, details in pretty much any track or genre. This is a very transparent sounding iem. Analytical to its core. Despite that, this is a very bright sounding set without enough bass to counter the brightness.
Bass Region
The bass on the PR3 is not going to appeal to any hobbyist who enjoys a beefier low-end. Plain and simple. There is a slight emphasis down low, but it comes across as undersized against the highs on this set, at least for me. I personally like a bit more presence in this region. I realize that there are some folks that desire this type of sound, so I feel it is important that you know what you are getting. On the bright side, the bass can be very fast. Truly, the PR3 can handle any track you throw at it, with a smile. It doesn’t matter how complicated or how congested a track is… The PR3 will resolve it all. However, if you want that deep and bellowing drone or the bulbous boom, you won’t exactly get that here. I don’t want you to get the wrong impression though. The low-end isn’t entirely gone, it’s just… moderate. It’s slight, it’s nimble, it’s uncolored, it’s contoured well and isn’t one-noted. But it won’t be the type of bass to warm any other area of the mix all that much. Does this make it bad? Not necessarily. There are plenty of folks who will enjoy the bass on this set. It just isn’t my favorite.Sub-bass
The sub-bass has the greatest share of low-end emphasis on the PR3, but it isn’t the most clear-cut distinction. I certainly wouldn’t consider this the most bone-rattling or jarring of sub-bass displays. I don’t want to confuse anyone though, which can easily be done in these reviews. The sub-bass isn’t non-existent. It’s definitely there but it simply won’t be so reverberant and guttural that it will satisfy the bass heads who are reading this. Now, on heavily bass driven tracks like “2040” by Lil Durk I can actually feel the boom of the bass drop and the tighter transient attack/decay helps it to sound very good. Which somewhat goes against what I was just saying. Of course, any set can vibrate on this track, but I feel it’s nice on the PR3. However, if I go to a track like “Groove” by Ray Wylie Hubbard, I don’t get that real deep and gravelly sound. The sound doesn’t come across with that sonorous edginess that I’m used to. It’s the same as I’ve been saying, it’s moderate, it’s there, but it comes and goes very fast and without an atmospheric decay. The leading edge of the attack is pretty solid but the body to the note is not as dense.The sub-bass isn’t super gravely and thundering, but it is well represented for what it is. It’s a more natural sub-bass with just enough texture to give some feel to bass guitars and tactility and haptics to kick drums. Not bad at all folks.
Mid-bass
The mid-bass doesn’t carry a whole lot of energy and certainly won’t slam with any gusto. It’s a milder mid-bass boom. If I were to point out some good qualities, I’d say that the mid-bass has an uncanny ability to come across ultra speedy, deft, tidy, very agile, and can maneuver around most any bass passage with ease. Not even hinting at being one noted. This is a precise bass. However, the issue is that it doesn’t come across very potent and doesn’t add any real warmth to the midrange. You may or may not like this. Still, as I was playing “Stereo Colour Cloud” by Sampha I wasn’t completely dissatisfied with the level of rumble. Of course, the sub-bass does help give this track a bit more oomph. Not brain rattling but rumbly enough. However, I could’ve used a little more on the track “Edge of the Ocean” by Stick figure. There isn’t that round, convex and swollen type of mid-bass projection. It’s there but in limited quantities. Bass Bois… Keep looking. Stuff like bass guitar doesn’t have that fullness that a bigger mid-bass can provide and the initial boom and harmonics from a kick drum may not satisfy all the time. It really depends on the track but for the most part the mid-bass is not emphasized enough for a balanced sound.Further thoughts about the bass
All in all, the bass has a natural sound to it and decent extension into the lowest of lows. Tip-rolling does help and I’m sure if you got a bit froggy and wanted to do some mods then you could switch things up a bit. You could also EQ as the PR3 does take to equalization pretty well. I will say that the overall technical ability of the drivers is great, and it seems the drivers are of good quality and didn’t detect any undue distortion at all, even at higher volumes. Take it for what it is folks, but I’m fairly confident that half of you already know if this set is for you or not.Downsides to the Bass Region
The downsides are pretty obvious here. Even for non bass heads who simply like some meat to their bass region will likely not be impressed. The biggest drawback is the lack of mid-bass emphasis. The sub-bass does carry pretty nicely and many of my tracks which reach lower in register sound passable. However, for the most part this is an undersized low-end. For instance, the deeper bass guitar feels fairly nice about 17 seconds in on the track “Undoer” by Geese. Still, it doesn’t sound guttural and rich in its texture as it isn’t a “complete bass” sound. I’d say it is somewhat hollow and without that cornerstone substance we all like in the mid-bass. Now, the bass does have some redeeming qualities. Granted, they won’t redeem my joy, but I know there are plenty of folks who do enjoy this type of tame yet zippy bass region. This is a detailed bass and is fast when needed. It does lack some texture and body though. Some folks may say that this cancels the PR3 from any consideration. However, no set is made to fit everyone’s preferences. I know too many friends who despise big bass. I get it too. Coincidentally, I don’t review only to my preferences.
Midrange
With the KZ PR3 in my ears, I’m not getting that warm and full sounding midrange, but instead it is a leaner, more precise and an almost dry sound that’s quite technical in its approach. This isn’t the type of sound that exudes musicality and it’s not an emotionally charged sound. Of late we’ve seen KZ/CCA come out with some seriously lush sounding iems with rich textures. Sets like the CCA Rhapsody (Rhapsody Review) for instance. The PR3 is not that. I do hear some smoothness in this region and there is a very subtle warmth which feathers into the mids from the bass, but it’s very little. For the most part, the midrange is a neutral affair with a very energetic and lean sound. Certainly, brighter as we move into the upper midrange, but better for male vocals in my opinion.Lower-midrange
The lower midrange is a bit more recessed than the rest of the mids, but I find the presence of stuff like vocals and instruments to be adequate, heck even good. I do feel the lower mids are a hint more dialed back in energy from the upper-mids but everything still comes across coherently in the mix. I think males sound pretty nice for the tuning style. Yes, they are a hair lean, but the note definition is very good and there is this clean and precise type of density in the lower-mids which helps an otherwise thin sound to have a little substance to it. Especially with the foam tips, hybrid silicone/foam tips, or Final E-tips.Low-mids cont…
In “Pain, Sweet, Pain” by Zach Bryan, his voice is pretty far forward (how it’s recorded), and his voice almost has some pep or vivacity to it. The inflections in his voice have a slightly coarse crispness to them with a nice timbre in the lower half of the midrange. Not completely natural but not artificial sounding either. Males generally won’t always have that masculine heft and that authoritative constitution to their voices all the time on this set, but somehow it works. To get a feel for this set you have to think energetic, clean, brighter and crisper, even knife edged at times. Think “decent body” but not full in structure like some beefier and warmer sets. Now that I’ve said that I should also say…this doesn’t mean it sounds “bad”. I want to get this across. The PR3 just represents another way for males to be heard by the listener. In truth, I much prefer a fuller male voice with smooth undertones and a static free and crystalline note outline. I like a “warm vibrance” and a chiseled but full presence. You want a man’s voice to sound like a man, basically. The PR3 captures this with just enough warmth against the brighter umbrella of sound on most of my tracks. It’s just a different way to hear my music and it isn’t bad at all.Upper-Midrange
Females on the other hand are generally more forward and have quite a bit more shimmer and sparkles. The lift in the treble region certainly adds a sense of luster or radiance. Madison Beer sings “Reckless” and on this track her voice isn’t usually as vibrant as she sounds on the PR3. Her voice is very clinical and clean yet with the most subtle bit of planar timbre or a metallic glaze at the crest of notes. She doesn’t sound perfectly natural or organic. She sounds lean and with a touch of brilliance to her voice. You have to understand that the PR3 has about a 12 dB pinna rise against a much smaller bass shelf which doesn’t really gain any amplitude until you reach sub-bass levels. There just isn’t that warmth to counter the gain in the upper-mids. Also, at lower volumes Madison doesn’t sound nearly as sharp.Less energetic voices seem to do well but expect some added sunniness to females or a bit more brightness and shimmer. I do not consider this a very organic sounding upper midrange. Yet again, females don’t sound bad at all to me at lower volumes. Yes, they sound a bit lean, but they are also forward and the modulation and intonations of a female voice sounds very orderly and meticulously defined and I could see it working for some hobbyists. Think of any female singer and add some brightness or levity to her voice. The upper mids can get shouty at higher volumes and on tracks which are prone to some shoutiness, just something to keep in mind.
Upper-mids cont…
I say all of that but let me also say that the entire midrange is very open sounding with a ton of air, and separation is too notch. Also, imaging is very precise and spot-on in its ability to delineate where the instruments and vocalists are, with a nicely partitioned-off replay. I realize they’re a hint bright, but they’re also very well separated against the rest of a track. They come across controlled and glass lined. After many hours with this set in my ears I feel my brain has adjusted and I was able to figure out how to best make this set work to fit me better. That is, burn it in, foam tips, lower volumes. Is it my preference? No, it isn’t. However, I am not everyone else and I don’t want to belittle anyone else’s preferences as I’m sure those who enjoy that technical, energetic and brighter replay should also enjoy this.Further thoughts on the Midrange
I realize that this all doesn’t sound like a ringing endorsement of the PR3. However, the PR3 isn’t to the point of “throwing them out of my ears” or to the point of fatigue for me at lower volumes. I do have to watch what tracks I choose from my library. Warm and dark lovers will not be impressed. Personally, I can handle a bright set and I’ve almost grown accustomed to this set after many hours of listening. The beauty of the PR3 lies in its resolving abilities and how transparent and analytically “on-point” this set is. Details in this region are fantastic, some of the best in the price point. I do feel that I could use a hint more length of decay for some harmonics, but I can quite literally pick out every last little nuance in almost any track. The perceived speed of this driver is pretty great folks. Despite that though, this will not be for everyone. Once again, it’s great for those people who really enjoy that vibrant sound and love a brighter energy.Downsides to the Midrange
The worst offense of the midrange (in my opinion) is the note body which is directly correlated to the warmth given to this region, which is also tied into the amount of low-end energy the PR3 is tuned with. Next, the upper mid pinna rise can be shouty, slightly sibilant and slightly metallic at times. I don’t hear that smoothness that an organic sounding iem would have. Beyond that I think the midrange is fine. Males have a nice sound to them as well as some females too. The obvious strong suit if the PR3 rests in its ability to be a detail monster though. Truly, this set can handle pretty much anything I threw at it and that’s not an exaggeration.
Treble Region
The highs on the KZ PR3 are bright, chimey and tinsley with a very lustrous and brilliant type of replay. The treble has a ton of energy and a lot of voluminous extension into the highest of highs. I would consider this a “Treble-Head’s Delight”. However, I want to add that I found the treble to be a bit too bright for me. Again, foam tips helped a hair but, in the end, I feel this is a set that will appeal mostly to treble heads. Still, foams will help to balance the treble with the rest of the mix a little. For fans of that bright-ish sound, the PR3 will be right up your alley. Folks, the treble is pretty intense and can be aggressive with an acute sharpness to it. Certainly, KZ was trying to create a very resolving sound in the treble region. I would also say that this is a leaner sounding region. Now, the treble does have good note structure in the sense that it isn’t just a smearing of treble tizz. There is contour to the note body and good note definition. It’s an uplifted energy, and that energy does have some substance to it, or some treble density within this bright and brilliant sound.Music
Listening to Billy Strings in the track “Ice Bridges” is a very calculated and rapid-fire song with a bunch of treble energy that demands an earphone which can keep up or else it’ll simply come across as a mishmash of midrange congestion and treble sheen. Understand that I’m talking about a $50 iem here, so please keep your expectations in check. The PR3 is able to keep up, which is saying something. “Bishop School” by Yusef Lateef is a track I always use for treble activity and one which will showcase how well your earphones can adapt to changes up top. The PR3 does an admirable job of creating space and giving a sense of widened air between instruments. Perhaps a bit artificial in its presentation but altogether refined in its technical approach.Further thoughts about the treble region
One thing that may intrigue some treble junkies is the extension I am hearing up top. Any info past 10k seems to be very easily heard with plenty of amplitude for stuff like the secondary harmonics of a cymbal strike etc. In fact, harmonics of any instrument are going to come across pretty vivid and easily discernible. I did notice that this extension does help (in a psycho-acoustic way) the soundstage to feel pretty wide and open sounding. The rewarding points about this treble is that it will appeal to fans of a bright sound. I feel I’ve kicked that horse to death but it’s just the truth. This will be a polarizing sound for some in the hobby though, as it’s more one-sided in its tuning. But the detail retrieval is next level up top with a very quick and rapid transient attack and decay that can stop on a dime and maneuver around any track with relative ease.Downsides to the Treble Region
This is another obvious one folks. Really polarizing sets usually have pretty obvious supposed downsides for some people. For folks who don’t like a very bright sound I would certainly say that this is not the set for them. The downside here is that the treble is boosted a lot but there isn’t enough mid-bass elevation to counter it. Shoot, even with some more mid-bass boost it may not be enough. The treble can sound artificial as well and can be fatiguing for some at higher volumes. It’s simply a lot and can be intense at times and with the right tracks. I feel there is a portion of people in the hobby who will be at home with this type of sound but there are also quite a few who won’t dig it as much. It simply isn’t dynamically balanced and that’s pretty easy to hear right away.
Technicalities
Soundstage
The soundstage sounds pretty wide and has decent height too. There is some subtle depth as well. So, you know, these impressions come while listening to the KZ PR3 attached to the Shanling M6 Ultra. I feel that the good extension up top does help a little bit to create a perceivably wide stage, to a degree. Let’s put it this way, for $48 this soundstage is certainly above average as far as width goes. The only thing I’d say is that we are getting a planar stage here. For whatever reason some (not all) planars seem to have a wall of sound with very little depth. I do perceive the PR3 to not be totally flat as there is some depth here. There’s also a lot of air to the sound and an open feeling to my music which is nice to hear and certainly a redeeming quality to this earphone. So, the stage is pretty wide, tall, and there is some slight depth to my music. For a $50 planar that is a nice thing to hear.Separation / Imaging
Separation of elements within an imaginary stage are very well defined and delineated. I hear perceivably exact placement of those elements as well. Imaging and separation are nicely done. This set is technical over musical by a mile, and it shows. Now there isn’t the best depth in the price point, but depth of the sound field is at least adequately done so there’s some layering to the sound as well. Even on pretty complicated tracks the PR3 does a nice job of parsing-out and partitioning-off instrumentation and vocalists. The only real issues that I’ve heard from the PR3 (as far as separation is concerned) is instances when a track is littered with a lot of upper-mid and treble congestion. It just gets to be a bit too much and it can come across less distinct and more like mashed treble. These are rare instances though. However, the treble emphasis will do some masking of sounds in the right situation.Details
The PR3 does detail retrieval very well. I think the only real issues would be in a situation as I described in the last section. A bunch of treble activity taking over the sound space will cover over some of the minutia in a track. Of course, who is trying to spot details in a situation like that. So, for the most part the detail retrieval on the PR3 is fantastic. This is one area where the tuning pays off. You have that heightened resolution and boosting of the treble, no real issues with bass masking anything, transients are very fast and precise, separation is awesome etc. It all goes into the making of a great detail set. However, you do sacrifice musicality and a more organic sound but for those who dig this type of replay… they won’t care about that. Details are very good folks.
Comparisons
Notes: The following comparisons were created to give the reader some sort of an idea as to what the set I’m reviewing sounds like. I do not create comparisons to crown one set over another. I’m not interested in that, and neither should you. It would only be my opinion anyways. However, this doesn’t mean that you won’t be able to establish what set is better during such a comparison. I will speak in very general terms and use very broad strokes so as to keep my word count down (trust me, I have to watch it closely). I hope there is enough info for you to gauge the sound well enough.KZ X-HBB PR2 ($42)
The KZ X-HBB PR2 (PR2 Review) was actually the subject of quite a bit of controversy during its inception. This set was actually a collaboration between KZ and the wildly popular YouTube personality, the Hawaiian Bad Boy from “Bad Guy Good Audio Reviews” channel. For whatever reason some of the initial sets that were sent out had an added black mesh which helped in the tuning of the PR2. I actually have the black mesh unit and I think it is a phenomenal set at its price. I gave it a very good review and still think it is a nice set. Despite that, after some time KZ began sending the PR2 supposedly “without” the filter mesh which changed up the sound pretty drastically. So be aware this comparison is between the black mesh unit and the PR3.
Differences
As far as build and aesthetic, there really isn’t much of a difference. In fact, besides the three screws and a slightly different grill the two of these sets are darn near identical. The accessories are identical too. The real difference between the two rests in their overall sound. The PR2 is a bit warmer to the PR3’s brighter and more neutral leaning.
Sound Differences
The biggest difference is an obvious one; the PR3 is quite a bit brighter than the PR2 (mesh unit). Beginning with the bass region, the PR2 has a bigger and more full bass response while the PR3 offers much less in quantity to counter the upper region highs. I find the midrange to come across thinner on the PR3 but also the PR3 has a more detailed and transparent sound. Honestly, at lower volumes I find the PR3 to cover vocals a bit better as there is less of a metallic tinge to notes in this region. Again, details are illuminated a bit better on the PR3 too. Of course, the PR2 is still very good in this regard and also much tamer and smoother as you make your way through the upper-mids to treble region. I find the soundstage of the PR3 to seem larger and more grand and overall resolution is certainly better on this newer set. I feel the newer PR3 is simply more refined in its sound overall. Folks who enjoy a more zippy and brilliant treble with better extension and a cleaner overall sound will likely enjoy the PR3 better. Fans of a more balanced tuning with a larger and more fun bass section may enjoy the PR2 (Black mesh) more.My thoughts
For me, I have always liked the original “HBB” black mesh tuning of the X-HBB PR2. It was tuned nicely. The problem with this comparison is that I don’t know if that is the exact set you’ll get if you were to try to purchase it. Also, I’m not really knowledgeable on the whole situation and could be wrong about it all so please take this for a grain of salt. I do feel the added warmth of the PR2 makes it a bit easier for a larger number of hobbyists to enjoy. Still, the PR3 is better at resolving the micro-details and does sound more open and airier.
Kiwi Ears Melody ($89)
The next comparison is with one of Kiwi Ears latest sets, a planar earphone by the name of Kiwi Ears Melody. The Melody is a very nice set with a very nice tuning that features each area of the mix very well. Inside of the Melody is a 12mm planar driver and it is built with a nice feeling matte resin material. It has a cool feel to it. Very light. This may not be a fair comparison, but I feel it’s relevant. The price difference is pretty substantial, and the tuning is quite different, but they are both planars and are priced under $100. When it comes to planars I always feel they are in a class by themselves for some reason and comparing other planars just makes sense to me.
Differences
For starters, the PR3 is built like a tank comparatively. I definitely think the build quality is better on KZ’s set. Also, it looks better in my subjective opinion. Still, I find that the Melody is not a bad looking set at all. Just kind of boring, not bad, but boring. In the end though… Do we really care that much about that? The PR3 is a much brighter set with a leaner note weight but also much more analytical and dry which helps it to be a more technically adept iem.
Sound Differences
Again, these are two entirely different animals with entirely different tunings. Certainly, a preference battle type situation. One (PR3) is much snappier, more detailed, and technically savvy, while the other is much more atmospheric, timber is more accurate and musical. The PR3 has much less of an actual bass presence as the Melody has all the mid-bass boom that you’d want. The Melody simply bangs much harder and drones much deeper. The sound of the Melody is fuller and richer. The sound of the PR3 is much more lithesome, agile and has better separation. Basically, the PR3 is much better technically, though the Melody doesn’t skimp on details at all. It is simply tuned in a more balanced and musical way with almost equal parts mid-bass hump and pinna rise. I find the PR3 to be much brighter, tighter and expedient in its cadence and control. The Melody is much more smooth, graceful, non-offensive and much more melodic. The stage is larger to my ears on the PR3 with better extension up top whereas the Melody definitely has the PR3 beat for low-end extension.My thoughts
Folks, these are really two completely different animals, almost across the board. Both sets have two distinctly different sound signatures and serve two completely different hobbyists. It’s a preference battle. Neither one necessarily is better nor worse as they are so much different that whatever you prefer will obviously win out. For me, I like the warmer and more rich/musical sound of the Melody but I’m sure there are those who would choose the technically proficient sound of the PR3.
Full Review can also be found HERE
Is it worth the asking price?
This is always the big question for anyone looking to purchase a set. I can only really answer for myself folks. I can say that for me and my auditory palate that I would not personally purchase this set. Or if I did it would simply be to have this type of signature in my collection. I say this just because the PR3 doesn’t perfectly fit my music. No issue though, we are all different, folks. Remember, this doesn’t mean it isn’t for those who enjoy this type of sound. I know four people off the top of my head that will be in love with this set, and I also think I’m sending them to those people to complete a review next, so, you may get a different perspective from a fan of a brighter and more technical sound. This is something I have to stress because I don’t want it getting lost on you folks who are looking to purchase a set like this. For what the PR3 is (treble-head’s delight), it is good for the price. It was obviously tuned to be a brighter sound, snappy, technically efficient, with tight and revealing transients and created to be a detail monster. In that regard KZ succeeded. This is not a bad set for the people who would enjoy this type of signature. It simply isn’t my favorite sound. Granted, my brain did adapt, and I enjoyed it enough when I turned the volume down and used foam tips. Still, it’s a different sound then I’m used to and also it did get fatiguing after a while for me.The Why
Okay, for those folks who are treble heads and love that canopy of brightness and yearn for the finest of details to be brought forth and who cannot spend a dime over $50. For those folks there are a few reasons why the PR3 would be worth every penny. First, it’s built like a champ and looks really tough. That metal grill with the screws I keep talking about… looks so cool. That industrial style with the shiny silver and transparent shell is just BOSS. Next, the sound is bright, resolving, clean as a whistle, and can take on the fastest of my tracks. The PR3 is also very well extended into the highest of highs, leaving out almost no info past 10k. The sound as a whole, in every region, is very well separated with fantastic placement of images in the sound field. Lastly the soundstage is certainly above average for a planar at this price and wider than most sets of any driver configuration.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the KZ PR3 ratings below, that would be $35-$55 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5-6” is roughly average and please take into consideration the “lot” of iems these ratings are gathered against. $35-$55 US is a decent sized scope of iems, and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.3 Build Quality is something KZ does well.-Look: 9.0 Industrial, classy look!
-Accessories: – – Accessories don’t matter at this peice
–Overall: 9.0
Sound Rating
-Timbre: 6.5 Not the most organic KZ has crafted.-Bass: 7.3 Small in quantity but the quality is there.
-Midrange: 6.8 Not bad at all but not for everyone. Peaky.
-Treble: 8.3 Fast, controlled, shimmery and extended.
-Technicalities: 9.9 Technicalities are its strong-suit.
–Overall: 7.8
Ratings Summary:
Okay, I almost think that these ratings explain themselves. Look at my fine print above the ratings. I said that I’m rating the KZ PR3 against any and all iems between $35 and $55 in any driver configuration. You may think the scores are low, but you have to consider just how many sets are littered in between this price point. Before I conduct these ratings, (the first thing actually) is to decide a consumer price point. From there I go through every set I’ve heard and understand very well between that price point and then I write them all down. I had a total of 26 sets before I stopped, and I got tired… Lol. Sorry. Anyways, that is a ton of iems. I do my absolute best to accurately (albeit subjectively) figure out each rating above. These ratings are garnered with a couple caveats. First, they involve foam tips, balanced listening with high gain enabled and I listened at lower volumes. That is the criteria. Also, these are MY ratings, to MY understanding and this cannot get lost on you while reading.Explain Yourself!
So, the first rating which may conger some anger (because some of you actually get angry over this stuff… Lol) is the “Bass” category. Why on earth would I give the PR3 a respectable “7.3” when it lacks so much bass? The answer is that it is actually a very technical bass that is crazy nimble. No joke. If this Rating was broken down even more to a category like… “Bass technicalities” … then the PR3 would probably get in the high “9’s”. Again, no joke. Also, my opinion. To counter that, if this bass was broken down to “Bass Boom (Quantity)” then the PR3 would likely get closer to a “3.0”. Once again, no joke. Honestly, I made an executive decision to put it at a “7.3” and lean more to its “bass quality” rather than quantity. However, I would never argue if any of you gave it a lower score for your own preferences. Folks, I spend way too long on these ratings. I mean… Hours! Deliberating, sweating (jk), hoping not to get it wrong. But I have to explain myself and put context to the ridiculous task of “rating” an iem. You all know I don’t like this section. Also, I’m asking you to forgive me if you think I got it wrong. Just DM me like everyone else does… HaHa. I am far from perfect, and I know it.The other ratings follow this same trajectory with caveats to each score besides “Technicalities”. That is the only clear-cut rating I gave. The others are all questionable. So, I would take this particular ratings section with a grain of salt.
Conclusion
To conclude my full written review of the KZ PR3 I have to say a big thank you to KZ and to Tyvan Lam for providing this set. KZ has been very good to me folks. I realize this wasn’t the best review for the PR3 (from my point of view) but I have to be honest with you all. Thankfully KZ has been the type of company not scared to hear a less than stellar review. Lord knows I’ve praised their iems to the moon on many occasions. So long as they keep making great sets per their respective price point, then I will keep on praising them and giving them their flowers.That all said, I also didn’t give this (PR3) a “Bad” review either. This is a polarizing set folks! It is a niche tuning and is tuned for a very particular set of hobbyists and so I don’t think KZ necessarily did a bad job at all. If they hit their mark that they were going for then that’s all that matters. It’s up to you to identify if this type of sound suits you. I think they did fine, it may not be for me, but it is good for what it is. I’ll say it another way, just because I don’t like those luxury soccer mom vans doesn’t mean it’s a bad vehicle. It just means that my subjective opinion and preferences aren’t geared towards that style of vehicle…I do hope that makes sense to you.
Other perspectives
Please, I beg you, please go and check out other thoughts about this set. I’m telling you that it will pay off to read, listen to, or watch other opinions. It (PR3) may suit another person much better and guess what… Maybe someone else does a much better job of explaining the PR3. I am not perfect. Also, I’m not the next guy, I have different gear then the next guy, different likes and dislikes and I have likely been down a completely different journey through the Audioverse. We are all so different in how we perceive our music and what we enjoy. Read other perspectives and I hope that collectively you can make a wise and informed decision. I think I’m done folks. If you have any questions, you can always comment below or send me a message and I’ll do my best to get back to you. I hope each and every person reading is well and good. Please take good care, stay as safe as you can and always… God Bless!Disclaimer:
I recieved the PR3 from KZ in exchange for a full review. I have not received any payment or any other form of compensation for this review. This set is a sample iem. KZ has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece. Thank you to KZ and thanks for reading.Full Review can also be found HERE
Ceeluh7
That was a very kind thing to say, thank you.
h8uthemost
Nice review. I've had mine since they launched($30 price tag), and I love mine. I bought a nice cable for them and threw on some Dunu S&S tips, and I think they're great for that price. Yes I do have to eq it a bit. I bring the table down a decided or 2. Enough to take the sting out of say an alto saxophone, but not enough that it takes away from the details.
I didn't know about the kiwi Melody's. I'll have to check those out.
Again, good review
I didn't know about the kiwi Melody's. I'll have to check those out.
Again, good review
Ceeluh7
@h8uthemost i appreciate that a lot. I could not agree more, once you EQ this set to where it suits you, it really delivers a special sound. They take very well to EQ too which I find a lot with planar magnetic iems. Yes, the Melody is a fine set. Now, it is quite different than something like the PR3, so just be aware of that. Thank you my friend, take care.
CCA Rhapsody Review
CCA Rhapsody
Intro
Hello, the set I have before me today is one of KZ/CCA‘s latest Hybrid iems, the “CCA Rhapsody”. I just reviewed the most recent hybrid, the KZ ZAT (ZAT Review) a month or so ago and I was impressed. There are some slight issues but it’s a nice set. I am very curious what we will be seeing with this latest iteration in KZ/CCA’s lineup and how KZ/CCA builds upon past hybrids.I want to thank KZ for sending me the Rhapsody in exchange for a full written review. Just a disclaimer; I received no monetary gain in exchange for writing this review and I’m not affiliated with KZ in any way, shape, or form. It’s a fair deal and a good relationship in which I tell my truth about the product and the brand (KZ) gets the word out. Please understand there will always be biases in every review, flirting one way or the other, but I can assure you that every word I write comes from a place of honesty.
CCA & KZ
If ever there was a company which was more polarizing than KZ or their sub-brand CCA then I haven’t heard about it. However, this is a company who has always been good to me and very fair and has never shunned me for handing out a less than stellar review. I have found that KZ/CCA is always seemingly getting better. Obviously not everything works for everyone and not everything will fit everyone’s preferences from the company, like any brands iems. However, in general KZ is a company who seems to get better and learn from past tuning ventures. I have actually reviewed a number of their sets over the last few years and below is a link to those reviews if you’d like to check them out.- –KZ AS16 Pro
- –KZ VXS
- –CCA CRA+
- –KZ PR1 Hifi
- –KZ EDCX
- –KZ Linglong
- –KZ ZVX
- –KZ D-Fi
- –KZ X-HBB PR2
- –CCA Duo
- –KZ EDXS
- –KZ AS24
- –KZ Krila
- –KZ AZ20
- –KZ ZAT
Relatively good
That’s just to name a few and guess what… they’re all relatively good. Each one of them. Well done products for their respective price points that put up a serious fight against any set they are priced around. It’s just the truth folks. KZ/CCA seems to always seek to outdo the last set of every series every time they craft a new set. They build off the last iteration and with incremental changes that progressively get better and better. The good thing is that KZ/CCA is making affordable iems or products that most any pocketbook can obtain. One last thing… ethics and drama are not what I’m reviewing folks. As with every set, I do a deep dive on exactly what’s in front of me. Nothing more and nothing less.Anyways, the CCA Rhapsody is a hybrid iem which comes hot off the heels of a well-received KZ Castor and I’m very curious if the same formula was used for this set as well. With all that said let’s get into it, the CCA Rhapsody…
Non-Affiliated Purchase Links:
–Linsoul–Amazon
–KZTWS.com
Disclaimer: I received the Rhapsody from KZ in exchange for a full review. I have not received any payment or any other form of compensation for this review. This set is a sample iem. KZ has not requested to pre-read any review and does have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece. Thank you to KZ and thanks for reading.
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro Plus
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
This should be no surprise to anyone, but the CCA Rhapsody comes in the usually very small black CCA box with the company “CCA” logo on the front sleeve. Take off the sleeve and you’ll see the Rhapsody lookin’ all fly in foam cut-outs. Under the earphones you’ll notice the cable and eartips wrapped up in cellophane. CCA also provides a dip-switch tool in the package to help with changing up the sound to suit your preferences. Along with that is a little card showing what the switches actually do. So, there ya’ go, nothing crazy or world changing and exactly what I expect from this brand. It’s all good folks. KZ tends to put the money towards the earphones themselves rather than giving a better unboxing experience.
Eartips
The last couple years KZ/CCA has been adding in some very useful and legendary tips, the KZ Starline tips. CCA provides you with three pairs (S, M, L) in total. I find the Starlines work just fine but I instead opted for a slightly wider bore to hopefully prop up the upper mids a hair more. Instead of the Starlines I chose to use my all-time favorite eartips, the KBear 07 tips in the medium size for deeper insertion. The 07’s are pretty well known for increasing the mid presence as well as adding some punch to the mid-bass. The stem is very firm and thick which helps add a harder lined response and the bore is slightly wider which does open up the sound a hair. To be honest the Starlines are just fine, and I didn’t notice a monumental change when tip rolling. Still, if I have an option to use the 07’s, Imma’ use the 07’s.
Cable
This was also no surprise. I’ll keep this relatively short because CCA once again added the same QDC cable that they have used for years now. Not a bad cable at all but I just don’t like the aesthetic of it. Is it usable? Absolutely! The included cable is this white/opaque Silver-Plated Copper (SPC) cable that isn’t braided or thick or fun to look at either. It sounds perfectly fine though. Let’s put it this way; if you only have the included cable and cannot afford a better-looking cable… You’re perfectly fine. I instead went with the TRN Redchain modular cable which looks a bit better paired with the Rhapsody. Also, I can use this cable with balanced sources which is a win-win.
Build / Design / Internals / Fit
Build Quality
One thing that KZ/CCA never skimps on is build quality. The build structure and mold seem to be the same that they’ve used for multiple iems of late. It has the same basic shape as the KZ ZAT, AS16 Pro, AS24 etc. So that’ll tell you right away that this is a large set. The shell cavity is made by way of 3D printing out of a hard plastic/resin material which feels very solid. The faceplate is made out of some sort of an alloy. I would assume aluminum, but I don’t know for sure. It’s nice, that much I know. You’ll see a small round vent on the back end of the faceplate with a metal mesh grill covering it. On the backside of the Rhapsody, you can see the four dipswitches which are nicely inlaid into the resin.
Design
The overall design is one of the better that KZ/CCA have come out with. First off, the Shells once again give you the ability to peer into the inside and see the inner workings of the Rhapsody. You can see the DD’s as well as some of the BA drivers which I think is pretty cool. The faceplate design was a great idea as CCA decided upon a shiny metal with only the name “Rhapsody” written on the bottom of the faceplates. The design is simple, it’s not gaudy or too bougie but it’s classy. Just the name, a vent, and shiny metal and you’re good. I think this set looks nice. Dip-Switches
Like I said the Rhapsody comes with four dipswitches in total which help to switch up the sound to your liking. I find the dipswitches do a nice job of tailoring the sound, for the most part. KZ has had plenty of sets which have working dipswitches to figure it out and get this tech right. In fact, I’d probably say that the switches on the Rhapsody are probably one of their better implementations. The first two switches affect the bass region by adding what CCA refers to as “1 level” up of mid-bass amplitude per switch. I’m assuming they are 1- or 2-dB increments. I could be wrong. The 3rd and 4th switches are the same only they affect the mid/high frequencies. Each switch can either be flicked “up” which means it’s “on” or “down” which means that switch is “off”. For review purposes a “1” will mean “on” and a “0” will mean “off”. For instance, a “1111” means all switches are “on”.Don’t waste the digital ink
I won’t waste the digital ink going through each variation of switch settings because it is very boring to write about and even more boring to read about. Just know that there is a decently substantial change which takes place with these settings. However, you are not getting multiple different tunings but instead slight variations of the same tuning depending on what switch alignment you choose. The low-end switches add some slight note weight and low-end oomph and fullness while the last two switches add some slight levity to the mix up top by lowering the bass shelf. I don’t have a graph showing all the different settings unfortunately but by hearing I can tell the upper-mid/lower-treble area is being affected with those switches. It turns out I’m a bit more partial to a couple settings. I mostly feel that “1111” resonates with me the best as well as “1001”. I will allude to different switch orientations throughout the review but mostly I stuck to “1111”. That setup seemed to suit me the best.
Internals
The CCA Rhapsody is a six driver per side hybrid iem that comes with two dynamic drivers as well as four balanced armature drivers. CCA chose two 8mm dynamic drivers to operate both the low-end as well as the midrange. They did this to allow some separation of the frequency between the low-end and midrange. It helps to clean things up a bit without any overlap or blending. It’s just cleaner. One DD for the lows and one DD for the mids. It’s a more organic approach rather than using a BA for the midrange. The four balanced armature drivers are 31736 BA’s which are used to operate both the treble as well as the upper-treble. The thought is to break up the frequency and hopefully clean things up, separate the sound a bit. Each BA focuses on a specific area of the mix.Now, this is great and it’s good to see multi hybrid sets for cheap ($49), but the tough thing is adding so many drivers and keeping some level of coherency between all of the drivers. Dynamic drivers have a certain tonal quality as well as balanced armature drivers. Tuning all these drivers to mesh and marry the sound altogether is a tough task. Not that I’ve ever tuned anything but… So, I’m told. I can tell you right now that CCA doesn’t have any issues with coherency. Good job CCA.
Fit / Isolation
The Rhapsody fits me like a glove. They really do. Now, the nozzle fits a hair deeper than most and so that may be something you need to consider but for the most part this set fits great. Keep in mind, this set is huge! Like, really huge. If you have smaller ears this may pose an issue. I have what I would call medium sized ears and I feel the fit couldn’t get much better, but hay is just me. I’m sure some folks will have an issue. I find isolation to be about average. Nothing to write home about. I mean, the Rhapsody has a good-sized vent in the back, so it stands to reason that you won’t get amazing isolation. For the most part I think that most hobbyists will have no real issues fitting this set.
Drivability
The CCA Rhapsody is rated at 15-20 ohms and a sensitivity of 102 dBs. Therefore, the Rhapsody fairly easy to drive. I have to add a hint more volume than usual but for the most part the Rhapsody isn’t a problem driving. If you at least have a decent Dongle Dac you should be fine. I don’t hear any huge scaling with additional power. Perhaps using my daps (DX240 & M6 Ultra) gave it a little bit more refined sound but I don’t think you need a big power supply. Mobile Listening
Listening with something like the IFi Go Blu or the Qudelix 5k will put you in a fantastic spot with the Rhapsody. I never really needed to go to a balanced connection as the 3.5 single ended was enough. However, much of my critical listening was done using a 4.4 connection. Again, there wasn’t any crazy uptick in auditory ability with more power. I used a 4.4 connection when I listened to Moondrop Dawn 4.4, and I simply love the synergy between these two. The Rhapsody seems to play well off of a more neutral canvas.
Daps
My favorite way to listen to the CCA Rhapsody was with my daps. My music is all there, ready to go, but also these are my two most sonically gifted devices as well. However, I adore how well the Rhapsody’s warmer replay took to the velvet and resolving M6 Ultra.
In the end
Like I said, a decent Dongle Dac will suffice. If you don’t have one there are some good setups costing as low as $25 to $50. If all you have is a phone with a 3.5 connection, then I think you can get the Rhapsody to volume okay. Like I did on my iPad 6th gen, but you really aren’t getting the dynamic capabilities of the Rhapsody.
Sound Impressions
The CCA Rhapsody comes across warmer than it isn’t. There’s a pervasive and inviting warmth which cascades the entire frequency and good representation from each area of the mix. I know that what I’m going to say really doesn’t help you at all and it’s about as subjective as subjectivity gets but… The Rhapsody has a very enjoyable and very musical tuning. I would say that the Rhapsody is probably V-shaped to a warm U-shape depending on your switch orientation. However, the one thing which remains no matter the settings used is that the Rhapsody is a non-offensive, non-fatiguing, and an altogether easy listening iem. This isn’t dry, not analytical, not bright but also not the airiest either. I wouldn’t consider the Rhapsody a technical sounding set though the technical side of listening isn’t entirely lost. There are some caveats to that, and I will explain more later. Emotionally charged
I would consider the greatest attribute of the Rhapsody is something that I haven’t really heard in a hybrid from KZ/CCA and that is very nice coherence across the range. I get no hints of BA timbre or anything metallic when I listen. Friends, I really think this is a good job on CCA’s part of tuning two DD’s and four BAs without any real issues in this regard. I hear nice transitions from the bass to mids and mids to treble. The sound is certainly a form of a V-shape sound but there is a good dynamic balance where no one region truly dwarfs another, on some settings that is. Yes, it is a bassier set (which I love) but it’s also a warm-musical set. I think we throw that word (musical) around too much to be honest. There are different forms of musicality, and it doesn’t always have to be a warmer set that gives off a moody, passionate and melodious type listen. Still, in the case of the Rhapsody I feel CCA really nailed an emotionally charged and musical sound.Between the 20’s
KZ/CCA has come a long way by slightly improving their tuning set by set and the Rhapsody seems to be a perfect example of that. Starting off with the bass; the Rhapsody has plenty of thump and rumble. Not the speediest of all bass replays but very satisfying. Not quite basshead but it has great representation per the tuning CCA was going for. The midrange is recessed only slightly but it isn’t the type of recession that sounds attenuated or too pushed back in the sound field. The mids have a nice presence in the mix and fit the overall sound very well. Note weight is lusher and richer in this region giving vocalists plenty of realistic body to their voices. The treble area also is smoother with some hints of shimmer and shine yet never crests over into brightness. The Rhapsody stays the course and provides a treble that meshes very nicely. Not the most detailed but with a pretty good extension. It also doesn’t have the sharpest attack bite either, but it does have decent body up top.
Bass Region
The bass comes across emphasized and fun. Depending on your switch settings the bass can really deliver a big, bold, and even bulbous response. Or it can come across slightly less warm and a hint leaner, but always physical. Basically, the Rhapsody has the ability to give off a good rumble on most tracks no matter the settings. This will appeal to those who want a set that can thump and simply have a little fun with. In the same breath the Rhapsody is reasonably detailed in the “macro” sense. Per the quantity that is. The low-end is warmer, atmospheric, and not technically the speediest of low-end bass replays. Decay/sustain sounds a bit more spread out and prolonged while the leading edge of attack is relatively solid. It isn’t a crystalline and concrete note definition with an exact or precise note edge, but it’s solid. When the bass drops you have a fairly hard initial hit followed by a slightly lingering decay. Obviously, this depends on the track and the type of bass (kick drum, synth, bass guitar, etc.) coming through the Rhapsody. The sound is pretty deep, big, and fun. If that descriptor is not what you are after, then I would not think this set is up your alley. Just my opinion.
Sub-bass
The lowest of the lows has a nicely deep resonant drone on a track like “Groove” by Ray Wylie Hubbard. It’s that guttural type of gravely fullness that I really dig. It’s just fun. It isn’t the speediest of sub-bass replays and technically it won’t blow your mind, but it is nice to listen to. Also, take what I just said as a grain of salt because the word “technical” can be taken way out of context. It’s a clean bass, it’s an engaging bass, but it isn’t tuned for details, that’s all I meant by that. For what it is, the Rhapsody and those who tuned it have nothing to be ashamed of. After all, what do you want out of a sub-bass? For me, I simply want some representation in the area and some haptic feedback that isn’t hollow or pillowy. By-and-Large the Rhapsody has a good and controlled-resonant meat to it. It’s sonorous and can reach a fairly low pitch. The sub-bass doesn’t come across too knife edged or on the flipside… fuzzy. The Rhapsody has a clean enough note definition to not sound blended or simply one-noted against the mid-bass either. It isn’t a mishmash of bass sound, it’s tidy for what it is.Mid-bass
The mid-bass carries the majority of the low-end emphasis. Again, depending on your switch settings the mid-bass can sound very well balanced in the mix or slightly dominant. I like the “1111” bass which actually isn’t as emphasized but still very strong down low. If I turn only the first two switches the sound becomes much more boomy and broad and bulbous. Depending on your switches the Rhapsody can sound pretty agile and dexterous, or it can sound almost too emphasized (to some folks anyways). I happen to think it sounds fantastic for the price. I really mean that.“2040” by Lil Durk is a BANGER, and the Rhapsody does not disappoint. No matter the switch setting this track hits hard on the Rhapsody. I can hear all the thunderous, undulating, and thrumming rumble without feeling the entire track is caked in bass. “Feelin’ the Miles” by The Wilder Blue has a great bass guitar riff which shows off the Rhapsody’s ability to be nimble as well as robust as it manages a relatively clean rolling bass guitar that sounds full and authoritative in its expression yet also spry and agile. I really enjoy the sound folks. This is not a cheap sounding “big bass” folks. Now, I do feel that the Rhapsody can flirt with bassheads and I don’t say that lightly. Of course, it all depends on your switches and what you consider is a basshead set.
Further thoughts on the bass region
This is a bass for fans of a good strong bass. This is not a set that will appeal to a quick styled “hit-it-n’-git-it” type of bass. It doesn’t have that analytical, rapid fire, or quick thump sound & polar opposites to some of the planar or BA Bass replays on the market. This is a DD doing exactly what a low-end boosted DD does. However, this one at least sounds pretty compact for the price. Fans of smooth jazz, hip-hop, to an extent edm, r&b etc. or fans of a fuller bass response will dig this set. One thing I should also add is that the bass does have a nice ever-so-slight spill over into the midrange that is not a detriment for me. Now that could be an issue if you don’t want that moderately warm midrange, but I should at least speak on it. I would assume that bassheads will probably dig the Rhapsody, especially in a couple of the more bass heavy switch settings. I feel it just scrapes that basshead moniker. The priceless thing is that the settings can also yield a balanced sound with the rest of the mix. CCA really did a great job on these switches.Downsides to the Bass Region
The first and biggest downside in my mind is the amount of low-end rise we have on the Rhapsody. There are a ton of hobbyists who don’t like this type of sound. They may think it sounds borderline muddy, maybe bloated, too warm, not defined and detailed enough. I get that too. So I definitely understand those folks who may not enjoy the Rhapsody. It takes all types in this hobby. Many folks want a more flat and linear bass that has a tight and even more nimble transient attack through sustain. Understandable. Perhaps the low-end could have a more hard-edged note definition but I’m really reaching for “downsides” at the price of $50. With this emphasis? Trust me I’m reaching. All in all, the bass sounds great to my ears. It is as tight as $50 can give you for the amount of bass the Rhapsody has. CCA squeezed every last bit of definition they could muster out of this fun bass. Please don’t misunderstand, there are sets at the price point which can give you a bigger and more bullish bass and there are also sets which are more clearly defined too. The Rhapsody’s beauty is in its cohesion across the mix and the way it “all” comes together.
Midrange
After many hours of listening, it’s easy to hear that the midrange is a smooth (you’ll hear this word a lot) and melodious affair that honors musicality over everything else. The midrange has this cascading and umbrella like warmth over the whole of the midrange which leans out a hint in the upper mids. Of course, this will vary with your switch settings. The mids have very nice note weight which is not the most crisp or exact in the heavier bass settings. However, the midrange does tighten up and clean up as you pull that bass down. I don’t hear the most detailed or resolving midrange, but that is what you have to live with for this type of warm and emotional sound. The switches can change things up a bit and level out the mix a hair depending on your settings but for the most part it is smooth, rich, prioritizing lushness and musicality over cleanliness and detail. Smoothly rendered presence
The midrange is recessed to a degree but not nearly to the point that I would declare them attenuated or too far back in the mix. To my ears they generally occupy a good place in the overall stage with a lusher and more smoothly rendered presence. I find the leading edge of attack can go from slightly blunted too slightly crisp. Listening with “1111” I hear a slight crispness which enhances a smooth and weighty undercurrent. The macro-dynamic amplitude is not one which is brighter or sprightly or sheened out in shimmery ampleness. Instead, the macro-dynamics are profuse in a more saturated way, yet still fun and bountiful. The stage helps with the big width and good height which broadens the sound to my ears. Vocals are actually better than decent too. Maybe not as enhanced as I’d like but still very good.Lower-midrange
The lower midrange can go from lean-lush to fairly thick and milky. Scratch that… They are always full, it’s just that in some settings there is less of a coating of warm energy. I find males to be pretty virile in sound which helps a masculine voice to be… well… masculine. Using “1111” a male’s voice has a cleaner and less warmly veiled energy yet still comes across rich in tone. Take “Sand in My Boots” by Morgan Wallen. His voice is naturally thinner, raspy, edgy and the Rhapsody easily manages a realistically weighted sound. His voice is well executed and closer to organic than any other word I could use. I don’t hear any extra metallic grain crudding up the note definition either.Low-mids cont…
“I Still Haven’t Found What I’m Looking For” by Home Free (U2 acapella cover) is an excellent song to test male vocals and I feel this track found a home with the Rhapsody. Each male voice, from tenor to bass, is very clean on this track. There’s depth for layering and good transparency. Granted this is a very well recorded track and most sets sound pretty darn good listening to it. However, what strikes me is the timbre to the voices and this laid-back dynamism (best I could do) sounds utterly poised and stout. There is a crispness in the attack edge that is like the “cherry on the top” to the smooth and rich body with realistic harmonics. Also, when I say “crisp”, I don’t mean edgy, metallic, or glassy either. I mean there is a crystalline bite that’s clean. Eh, I’m still not perfectly happy with my description. Just know that it sounds good.Upper-Midrange
I usually concentrate on vocals in my lower and upper midrange sections. It probably isn’t the best way to go about it but it’s what I’m looking for in a set. Vocals are important to me. Females are usually the focal point of the upper-mids but that isn’t always true. Still, it’s females we generally look for in this region. The Rhapsody actually has a decent amount of controlled shimmer and females do have some vibrancy to them. They sound more elated and a bit leaner than males, also a bit more forward in the mix but only slightly. “Breathing Song” by Samia is a track that props up her voice as though it’s on a pedestal. The Rhapsody centers her voice so well, catching every inflection with good control and actual realistic sounding timbre to my ears. Possibly some people may think it’s just a slight hint too boosted for natural, maybe. However, she sounds hauntingly silvery and very pleasant.Upper-mids cont…
“I’ve Drawn Your Face” by Rachael & Vilray portrays a female lead who is a bit lower in register, to a degree. Her voice is prominent against the slow picks of the guitar and the Rhapsody does an admirable job of highlighting her voice with good note weight, good tonality and a clean approach. She really sounds nice. I hear every pluck of the guitar, every finger slide. Of course, this is a very simple song and so you should be able to catch that stuff. The point is, females like her come across almost velvety, but not soft. Smooth, but more like porcelain smooth rather than buttery. I hope that makes sense to you. She sounds clean with appropriate thickness and what I feel is good timbral qualities.Instrumentation
I won’t go too long into Instruments as it is kind of a loaded and broad stroke type of thing to describe. My descriptions will be very general as I’m not going to cite every song for every type of instrument. I could just tell you this; most instrumentation sounds very well played. Nothing sounds out of the ordinary or too artificial. Strings have just enough of a sharpness with fluid harmonics. Electric guitars with or without distortion aren’t too sheened-out or glaring though may be a hint too bright depending on the track and your taste. I don’t find them bad. “Sabotage” by The Beastie Boys is easy for my brain to accept. Nothing glaring. Percussion has a snap to it. Most snares have that pointed “pang” and weighted body which is satisfying. Cymbals don’t sound splashy at all to me. Violin can sound steely and edgy rough but also clear and resonant. I could keep going but this section won’t be the same for everyone. We all have our idea of what the correct sound is and while the Rhapsody isn’t perfect by any stretch, I don’t hear anything that sounds “off” to me. So, forgive me for cutting this short.Downsides to the Midrange
Let’s see, if I were to nitpick, I could easily say that the Rhapsody is not the most detailed sounding set. I realize the songs I chose I described as being mostly clean alluding to good resolution. But this isn’t always the case. The sound altogether is mostly warmer, smoother with less fine lines. Granted, details aren’t bad at all. Also, this isn’t the quickest or transient swift midrange and so complicated tracks may blend a bit. This simply isn’t the most technically inclined sound. Being more musical sometimes steals some of the separation and nimbleness. It’s a give and take folks. With the bass switches up the sound may be too warm veiled or stuffy for some folks. It isn’t the most open sounding in that orientation. Also, please remember this is a $50 iem and please try to put my words to some sort of a context. My descriptions are tallied with the mindset of other $35-$55 iems. Of course, good sound is good no matter the price.
Treble Region
The upper regions of the CCA Rhapsody are fairly airy but in a warmer and smoother sense. Basically, it isn’t the brightest treble, which in my opinion is mostly a departure from some KZ/CCA iems of the past. I feel it takes a more natural glide through the treble, to an extent. Certainly not as polished as some sets but has a nice tonality to my ears. The treble is more soothing and not at all fatiguing. There’s moderate levels of vibrant sheen and some immediacy in the attack bite. I find the rise up top is enough to elevate the overall sound, as though CCA tuned this set to have just enough levity. The leading edge at attack is slightly softened but with good presence depending on the track. This isn’t a treble that will come across oversaturated or artificial, but more of a natural lift and decline. Of course, this is while using the “1111” switch setting so take that into account. The sound can get a degree more airy and slightly leaner with a bit more brilliance. However, for the most part CCA did keep this more safe and easier to digest. Not for treble heads
Let’s put it this way; treble heads and those who desire that ultra clean, precise, contoured and shimmery treble will likely want to keep looking. I say that but I can also confidently say that the treble is well emphasized to coherently fit the tuning. However, those who enjoy a treble that isn’t overbearing, without any piercing glare, isn’t even close to tinsley or splashy, but is still able to bring some air to the mix… then maybe this is a treble for you. But no, it is not for treble heads or even moderate fans of treble leaning tunings.Example
Listening to “Keel Over and Die” by Old Crow Medicine Show actually sounds quite nice and the Rhapsody seems to be able to keep up pretty well to the fast instrument play. I don’t think it compares to other sets in the price point that are literally tuned to illuminate the treble with more of a compacted and boosted sense of luminance. I’ve heard many that will separate a titch better or bring out some micro details better as well. That said, for CCA to tune the Rhapsody in such a musical and rich manner I find the treble perfectly suitable for this track. To be honest I enjoy that certain peaky areas of the song are easier on my ears.The treble should sit well with folks who value tonality and timbre above technicalities. Not to say the Rhapsody is deficient in the technical aspect but that was not how the Rhapsody was tuned. I don’t hear any sibilance or undue spikes and I don’t get any sense of that BA timbre or metallic edge to notes. It’s actually pretty pleasant. It has a fairly transient fast and contoured sound, yet it does so in a safer manner. For long listening sessions this is a nicely smooth sound that still has enough emphasis to sound balanced with the rest of the mix. Extension into the highest of highs isn’t going to change your life but it isn’t bad by any stretch. For instance, the secondary harmonics of a cymbal strike don’t sound splashy and depending on the track don’t come across attenuated or dull. Basically, harmonics in the upper treble are decent.
Downsides to the Treble Region
The first thing which comes to mind I’ve pretty much expressed and that is the treble is not going to be bright enough for some people. The Rhapsody doesn’t have that chimy brilliance and doesn’t have that “treble head” type of lustrous vibrance. It is partially subdued and so I do believe that will be a turn off for some. This isn’t an analytical treble region at all and won’t be a situation where you are hearing details you haven’t heard before. It isn’t that. While the minutiae within a track can be heard to a degree this won’t come across like a detail king. In the end, this also isn’t a treble that is super refined with that haptic sort of feel to the attack edge. It isn’t really a physical treble. However, for the price and considering the overall signature, I feel the highs on the Rhapsody fit the overall dynamic of this set very well and very coherently. There isn’t any sibilance, no shout or pierce and no real BA timbre. At least that I’ve noticed.
Technicalities
Soundstage
The soundstage will probably surprise some folks. It is actually pretty wide. Certainly, outside of my ears. Height is about what I would call average and there is some decent depth. Nothing which will usurp Kilo-Buck sets but better than a lot you will find in the price point. The psycho-acoustic rendering of the soundstage gives a round portrayal of my music and it all just feels “big”. There are full sounding macro-dynamics that are very expressive. The music is a bit closer to the listener, not pushed back or distant. The sound field doesn’t entirely sound “in-front” of me but instead it’s all around and seems to use all of my head space. If that makes sense. If not, then I’m sorry. The sound is closer but fuller too. The stage is very nice. I feel nothing cramped at all! Nothing feels congested either. CCA did a nice job getting all they could out of this set.Separation
I feel the only two words I could use to accurately describe Rhapsody’s ability to separate and partition off elements of a stage would be… “appropriately-average”. Not bad by any stretch, especially for the type of warm, thick, lush tuning. It’s average in the grand scope of things. Much better on simpler tracks but a bit more blended on really complicated stuff. It won’t blow your mind and sort-of follows the overall technical sentiment of this set. It’s a musical sound, more organic, full, softer lines and smooth undertones. Within that lens I feel that the Rhapsody does very nicely for what it is. You have to spend a lot more money to feel such richness but also focus on perfect and distinct separation. However, I say that, but I also have to stress… This is a $50 iem. This isn’t $500. For $50 I feel I lose nothing with this set. Now, if you are a constant critical listener who loves to focus pointedly on certain instruments or vocals and “need” that clean separated sound, then I’m afraid you will probably have to keep looking. Appropriately-average is great for what the Rhapsody is.Imaging
Imaging fares pretty well. I really have no issues either with left to right or even front to back. There is some depth for layering to a degree which is very helpful for placing instruments and voices. I haven’t heard anything that would counter that thought. The stage is pretty well drawn out and I dont hear any odd placement of instruments and vocalists. This is one area that I think is a plus for CCA and the Rhapsody.Detail Retrieval
When trying to listen for the finite and subtle little details the Rhapsody does just fine. I feel you probably already know what my thoughts are if you’ve read this far. Still, I’ll reiterate that in complicated and congested or poorly recorded tracks there always exists a possibility of some blending. Also, in heavier bass jams you may hear some masking of sounds which takes away from your ability to actually hear details in the first place. It really depends mostly on the track and to an extent the genre. So no, the Rhapsody will not be the best set if detailed and critical listening is your favorite way to listen to music. Again, this set simply isn’t tuned for that. Now, I say that, but I’ll also say that the Rhapsody isn’t bad at all. I think we go too far with detail retrieval when so much has to do with the music and to a lesser degree also the source device. Thankfully CCA created a very musical sound with a fun signature while still doing a commendable job of bringing out the details.
Is it worth the asking price?
The answer to this question is yes. Despite that, for those folks who don’t subscribe to this type of sound I think that’s an easy no for them. Still, if I’m answering this question for me then absolutely yes, it’s worth the cost of $49-$50!The Why
To start, the sound quality is fantastic for the price. You’d be very hard pressed to find anything like the Rhapsody anywhere near the price that CCA is asking. You just won’t find it. Folks, this is a 2DD/4BA hybrid iem and it ONLY costs $49! The bonus is that the sound isn’t just good… it’s great. Again, it won’t be for everyone, but the sound is very mellifluous and melodic with such an engaging emotional tilt to my music. I really am impressed! The sound is wonderfully coherent. Yes, I said “wonderfully”. I’ll say it again if I have to. The sound is coherent between all of these drivers and the sound is rich and non-offensive to the core. Just a nice and easy listen. You have a great build with actual working dipswitches and a classy and cool appearance as well. The accessories won’t be the best and the cable will likely be swapped out by most folks, but beyond that, I think the Rhapsody is one of the better sets under $50. I would go further with that, but I’ll try to play it cool.Other fish in the sea?
The Rhapsody is an easy rec from me. If a warm to neutral/warm and wholly musical sound is up your alley, then I wouldn’t wait on this one. It’s good folks. Now, there is a sea of great sets in the price point and many of those great sets have different signatures and are good for their own reasons. You have the Rose Technics QuietSea (QuietSea Review), Simgot EW200 (EW200 Review) the BGVP P05 (P05 Review) EPZ Q5 (Q5 Review), Reecho SG-01 Ova (SG-01 Ova Review), Kiwi Ears Cadenza (Cadenza Review) and that is only to name a few. Listen folks, those are all great sets, each one of them.Each set highlighted above has its own distinct sound, driver configuration, style and each has a good reason to be placed near the top of most folks “Best Under $50 List”. Obviously, there are quite a few I left out because I’m not going to spend too much time on it. However, none of those are exactly like the Rhapsody. None of them. The Rhapsody is an altogether different animal and that is one of the reasons that I say… Not everyone will dig the sound like I and others enjoy it. I would even go so far to say that the Rhapsody may be a hair polarizing to the consumer public. For me… I think the Rhapsody is priced very competitively and is definitely a set to get for your collection.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the CCA Rhapsody ratings below, that would be $35-$55 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $35-$55 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.0 One of the nicer builds in the price point.-Look: 9.0 This set looks very classy in a minimalist way.
-Accessories: – – Accessories don’t matter at this price.
–Overall: 9.0
Sound Rating
-Timbre: 9.2 The timbre and tonality are very good.-Bass: 9.1 Big in quantity & doesn’t lack quality.
-Midrange: 9.5 The mids are great on this set.
-Treble: 7.9 Nice & non-offensive treble with good energy.
-Technicalities: 7.0 Musical over technical but above average.
–Overall: 8.5
Ratings Summary:
Folks, this is one set of ratings which absolutely demands some sort of an explanation. I did say that the Rhapsody is one of the best in the price point yet individual ratings aren’t as high as this would indicate. What gives? Well, this is why I always say that ratings don’t tell the whole story. The Rhapsody isn’t a set to judge in separate areas like this. This is a set you judge as a whole. The Rhapsody’s goodness is in how it all comes together. It is when all of the frequencies combine to form the end product. No doubt when judging this set, I went through each Rating against every set I’ve ever heard or owned, and that is a lot. Simply put, other iems beat out the Rhapsody in individual rating areas. Others specialize in certain areas. Another thing that I need to stress to you, this is MY idea of what constitutes “Good” and MY thoughts against other iems. I promise in a room of 20 that 10 may disagree with me. Please take that into account. I don’t want any DMs from you guys saying I steered you wrong.Explain yourself!
Anyways, to begin I would say that the bass is an area of contention. I gave it a “9.1”. Those who want a snappy and quick bass with a concrete punch but don’t want all the quantity may give this set a “5.0”, or less even. Not everyone wants a thick and muscular low end. I gave it my rating because it’s big, bold, meaty and yet it’s tight for such a quantity, with a nice relatively solid edge to notes down low. It’s clean for its breadth and can reach deep. To me it is very good. At times I like that more transient swift low-end with better breathing room for the mids as well. But I can’t help but love what I hear on this set. One thing to also consider is that I can dial back the switches a bit on the Rhapsody which does lean it out a hair.The next area people could have an issue is the “Technicalities” rating. I gave the Rhapsody a “7.0” but in my review I basically called it all average, which should be a “5.0”. However, it’s the soundstage which saved that score. The stage alone is one of the better stages you’ll hear in the price point. Also, imaging is actually good on this set. So… “7.0”. Sounds good to me.
Note: I did not complete any comparisons due to time constraints. Please message me for any questions or quick comparisons and I will be glad to help you out if I can.
Conclusion
To conclude this review of the CCA Rhapsody I have to first say thank you to KZ/CCA as well as Tyvan Lam for providing the Rhapsody for a full feature at Mobileaudiophile.com. Friends, I want to assure you that what I write is my own thoughts. I’ve never been paid a cent, never had any company pre-read or approve my reviews either. If either of those two things were required, I would not even consider touching their products. KZ doesn’t ask this out of me and have never requested I speak highly on their devices or favorably. I also want to thank anyone who chose to read a word that I wrote. I put quite a bit of time into each review, and I do so in hopes it helps you to make a purchasing decision. However, it was you who clicked the link and for that I as well as mobileaudiophile.com are grateful. Other perspectives
One more thing, I always end my reviews with a plea that you would now close this review and read, watch, or listen to other thoughts on this set. We all have varying thoughts about everything in this entirely subjective hobby, and it’ll serve you well to listen to other perspectives. I give the CCA Rhapsody a recommendation and do believe it is one of the more unique sets at its price point. Please take care, stay as safe as you are able and always… God Bless!
gael
ZAT or this? 
Letshuoer S15 Review
Full written review
Letshuoer S15
Intro
Today I am reviewing one of Letshuoer’s latest within their lineup of planar magnetic iems, the “Letshuoer S15”. Letshuoer is one of those brands that seems inclined to try something new, something different, possibly something that not many of us have heard of. This is the case with this wonderful new planar magnetic iem, further in the review I will certainly expound on that. Back to Letshuoer, there is also something different about this brand. From an outside perspective that is, and perception is reality of late as we’ve seen different tech housed within their lineups. I have very much enjoyed everything I’ve tried, tested, or owned from this brand.Letshuoer
Shuoer Acoustics was formed in 2016 by Danny To and Jeff Wong. Together, along with a team of people, they’ve built their company into what it is today. You can read a little bit about some of these folks HERE. Letshuoer which began their journey branded as “Shuoer” has created many fine earphones that have truly stood the test of time. I myself have reviewed only three of their sets, the Letshuoer S12 Pro (S12 Pro Review), the Letshuoer DZ4 (DZ4 Review) as well as the S15 which I am reviewing here. I’ve also “tried” a few more of their more expensive sets that I simply don’t have the funds for, and I’ve walked away flat out impressed every time. I also own the Letshuoer D13 which is an underrated iem and a fun one at that. They have some massive successes in the business with the Letshuoer Tape & Tape Pro, the D13, Soloist, DZ4, S12, S12 Pro, EJ07, EJ07M, EJ09, the Conductor as well as the Cadenza 12 among many others. Each having its place among some of the great sets in their relative price points and each having its own special tech. Obviously, Letshuoer makes sure to exhaustively work on a product until it is finished and complete. I can respect that. Maybe one of these days I’ll be able to test out some of their high-end gear for review. Till then I’m very pleased with what I’ve heard.S15
The Letshuoer S15 comes with quite a bit of fanfare as it’s a direct sibling of one of the most impressive and heralded series of planar magnetic earphones on the planet. The S12 was surely one of the biggest success stories in the entire audio world. Then Zeos came out with a collaboration effort and released the Letshuoer X-Z Review Z12 which was another smashing success. We got a couple different versions of those and then Letshuoer decided to trump them all with one of the better planar sets under $250 with the Letshuoer S12 Pro. To say that the S15 has a lot to live up to is an understatement. Another thing is that the S15 brings with it some skepticism because of the addition of what they called a “passive radiator” which was later explained that it isn’t a passive radiator at all, but instead it’s a pressure relief, but I’ll get into that later. The point is, the S15 better bring it. This is quite a price jump ($330) and it’s more than flirting with the mid-fi scene. The number of great sets between $300 and $400 is silly folks. We shall see…Thanks
With that, I thank you for reading this review and hope it helps you out. Truly. That’s why I even do this, along with the fact that I love writing about the subject of personal audio. Before I dive into this review, I must thank Letshuoer for providing the Letshuoer S15 in exchange for a full review and feature at Mobileaudiophile.com. Let it be known, I receive nothing in compensation for this review or for any sales of any units of the S15. I am not affiliated with this company or any company that I review for. Please rest assured I would never bind myself to any agreement like that… Ever! Nobody has ever, nor will ever pre-read any review of mine. I would rather not review at all if that was the case.Lastly, please understand that what I write are my thoughts, my experiences, and my words… end of story. However, we all have our own biases and in a subjective game such as reviewing, those biases can surely appear in my writing, I am a human being after all. I promise to put you (the buyer, consumer, hobbyist) first and tell you my exact feelings to the best of my ability. With that said, the Letshuoer S15….
Non Affiliated Purchase Links:
–Letshuoer–Zeppelin & Co.
Disclaimer: I received the S15 from Letshuoer in exchange for a full review. I have not received any payment or any other form of compensation for this review. This set is a sample iem. Letshuoer has not requested to pre-read any review and doesn't have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece. Thank you to Letshuoer and thanks for reading.
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro Plus
–Moondrop Dawn 4.4.
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
Letshuoer does a great job of packaging their earphones. Well, at least any of the sets I’ve checked out. The S15 is no different. I love how Letshuoer got kind of creative with the unboxing, it just adds an extra short-lived element of anticipated joy. Okay, maybe it is just me. Anyways, the S15 arrived at my house in a good size rectangular box covered in a thin cardboard sleeve. There really isn’t a whole lot to say about the look other than there is a design on the front similar to their promotional material.Anyways, remove the sleeve and you are presented with an even more utilitarian box. Open the box top and you’ll see the dope looking Letshuoer S15 earphones sittin’ pretty staring back at you in cardboard/foam cutouts. Lift up the foam layer and you’ll see an envelope with some reading material as well as a poster of the same promotional image we’ve seen relating to this set. So, as I was looking over the box I realized after far too long that there is a drawer on the lower half of the box. Open the drawer and you’ll see the case as well as the modular cable adapters also sitting in foam cutouts. Inside the case you’ll see the cable as well as the eartips. Not bad Letshuoer! I feel the contents are good enough for a higher price tag.
Eartips
So Letshuoer added in six sets of tips in total. Or two different varieties of tips as well. The first set of tips is a semi-wide bore set of white silicone tips (S, M, L) with a pretty stiff stem and a firm flange. I’d say reminiscent of KBear 07 tips but with a slightly thinner stem and slightly less firm flange. They are very good tips. The second set of tips is a light blue set (S, M, L) of wide-bore tips. These are actually the tips that I used the most during my time with the S15. They’re a wide-bore, shallow fit, firm flange type of tip and they look great on the S15. More importantly they actually sound good too with the S15. I’ve used about every set of tips in my arsenal on the S15 trying to find the best fit. Some of my favorites include the KBear 07, JVC EP-FX10, and Divinis Velvet. However, for review purposes and because the fit is silly good, I simply chose the included wide-bore tips. They work like a charm for me.
Carrying Case
The carrying case is a hockey puck styled case with a threaded lid that simply screws on & off. The look of the case is not the most luxurious as it’s made out of plastic. I do like the coating they use on it. It’s this matte blue color, similar to the S15 shell, and has this rubbery feel that is very nice to me. I have no reason other than that of why I like it. It has a satisfying feel, for whatever reason. Probably not the most robust and Letshuoer probably could’ve sprung for a better material for the case but… oh well. The truth is, I haven’t used a carrying case in years but for storage at times. So, it doesn’t bother me too much. However, for those who value a good case just know that it isn’t too large, the threaded top unscrews with ease (shocker), and you may be able to fit a small dongle dac inside as well.
Cable
The included cable that came with the S15 is a very nice cable. Similar to the cable provided with prior iems but this one is a bit fatter and also has modular connections (awesome). To be exact, the cable is a .078 2-pin 216 strand mono-crystalline copper cable which comes equipped with 3.5, 2.5 & 4.4 right angled modular connectors. I don’t find the cable to be microphonic at all and find zero reason that anyone would “need” to replace it or cable swap. It is a very nice-looking wire that pairs well against the silver and baby blue of the S15 earphones. The color is a braided mix of brown and white and I really dig it.
The actual function of switching out the modular connectors is about as easy as it gets too. Simply line em’ up and push the connectors on. Now, not all modular connectors are created equal. For instance, I find Letshuoer’s cable connector to be much better than something like the Tripowin Noire for example. The connection is tight and rigid and never comes off. The included cable also has durable enough and pretty robust hardware for a set at this price. I think this is a nice addition and I’m glad to know that Letshuoer understands that a good cable is important to us hobbyists.
Build / Design / Internals / Fit
Build Quality
This is one area that may be a point of contention for some of you. In fact, I see it going one of two ways. First off let me explain. The Letshuoer S15 is made by “HeyGears” by way of 3D printing. HeyGears is a well-known company who has assisted many brands with such needs. The material is advertised as a “3D printed Resin”. But not like the typical resin you’d see nowadays… Obviously. This is a very cool feeling & matte baby blue colored material that almost has a rubbery feel to it. Just like the material used on the Letshuoer DZ4. Same stuff. I think I like it. It doesn’t get cold, it’s super light, and it looks very cool in my opinion. However, I said this’ll likely be a point of contention. I do fear that many folks will see the price of the S15 and wonder why there isn’t a more robust material. That said, I really think it is a trendy and durable material that many will enjoy. There’s also a small vent hole towards the back of the unit as well. The nozzles are average in length and are made of the same material as the Shells. Again, the entire acoustic structure and internal cavity has been 3D printed to specific parameters to keep the tuning principle intact. It’s a good build, whether one hates it or not. It’s obviously durable, impervious to corrosion or attack from the elements, it’s very lightweight and also, it feels good to the touch.
Design
This is an area that I would’ve thought would garner across-the-board approval. Apparently not everyone feels this way. Maybe my eye isn’t as good as I thought it was. At any rate, I think this set looks really cool. I love the understated, non-logo havin’, simplistic yet modern design language. As you can see the faceplates are made out of all alloy. That’s “Anodized Aluminum” to be exact. The faceplates are all silver in color with raised above flush little waves creating a pattern on the faceplates. Those patterns are CNC carved and then sandblasted & anodized. The Shells themselves are 3D printed, with a matte baby blue color and an ergonomic shape. Listen, in the looks department it isn’t the best look I’ve ever seen but it also isn’t even close to the worst. For me personally, I think it looks pretty darn sweet but some folks on Facebook remarked that they didn’t appreciate it too much. I suppose it only matters to the person buying them.Internals
This is once again (for whatever reason) another point of contention. First off, Letshuoer went with a 3rd generation 14.8 mm Planar Magnetic Driver as well as a 6 mm Passive Filter Module which actually isn’t a driver or a passive radiator like some (me included) thought it was. Well, if you read their promotional at the beginning that is what they called it. Obviously, a passive radiator didn’t make any sense in this application, much the same as the Letshuoer DZ4 where we also had some groaning from some people screaming that they were being lied to. Or something.
PFM
The “R-Sonic Passive Filter Module”, or “PFM” simply acts as a pressure relief for when the sound pressure level begins to rise. That’s it. When the SPL is a bit stronger than the PFM membrane is activated which ultimately pushes or pumps the energy away and out of the vent holes within the same acoustic cavity. This also is said to reduce the excursion or movement of the actual planar driver which will also reduce listening fatigue for these situations, or so it is theorized and patented. When the SPL is not enough to activate the PFM then it will simply sit idle. There ya go, it all makes sense. I simply think there was some confusion when the S15 was first advertised. I fell victim myself and posted that this set came with a passive radiator. Now we know…Moving on.Thankfully everything seems to work as intended and I get no undue resonances in the sound field. At least nothing which I can hear. Also, this set sounds great in my opinion, so I think Letshuoer is doing something right. Letshuoer also uses “dual sound tubes” which is a well-known method of filtering different parts of the frequency allowing each 3rd of the mix to come across coherently.
Fit / Isolation
The Letshuoer S15 takes a minute of fiddling to get the right fit. This all depends on the eartips that I choose though. Using a fatter and more rigid shallow fit tip like the blue set that comes with the S15 I have zero issue at all. In fact, they fit rather perfectly. As I say in every review; I don’t know how they are going to fit in your ears. This section is almost pointless for review purposes. I will say that the S15 does have an ergonomically polished build that does seem to nestle right in my ear very nicely. As far as isolation is concerned the S15 are simply average. I don’t feel they attenuate outside noises but at the same time they do block out enough. There really isn’t any sound leakage to the outside world either. All things considered; this is a solidly built set that has comfort as a priority.
Drivability
Mobile Listening
Letshuoer states that the S15 has an impedance rating of 30 ohms and a sensitivity of 106 db’s. What this translates to is a set which can get adequately loud, even on less powerful sources. Don’t be fooled though, there is some benefit to giving this set some more power. In fact, I don’t think you receive the full potential of the S15 without at least decent output. By decent I mean 100mW or more I would say. Best guess.
Listening with the IFi Go Blu presented a nice sound on 4.4 balanced. I felt it was a more open and more precise sound then listening on 3.5 single ended, to a slight degree. The synergy is great with the Go Blu’s CS43131 dac chip and its good power output. The neutral leaning warmth of the Go Blu reacts wonderfully with the S15. Using the Moondrop Dawn 4.4 I found a great pairing too. The power is enough to really energize the planar magnetic driver and also produces very nice synergy. However, I actually liked the warmer Hidizs S9 Pro Plus (ES9038Q2M dac chip) which gave me a relatively smooth sound that has great dynamics with the S15. It’s a good mix of tonalities. Of course, this determination is subjective to me.
Daps
Listening with either my iBasso DX240 (ES9038 Pro chip), or my Shanling M6 Ultra (AK4493SEQ chip) I got two different and distinct sounds that married well with the S15. I’d say I like the M6 Ultra a bit more as it has that warmer, smoother and velvet sound while coming across very resolving and dynamic. I felt there was a hair more of a metallic tinge to the very crest of notes with the DX240.At the end of the day
I feel, so long as you have a decently powerful dongle dac you should be fine with the Letshuoer S15. This is not one of those planars which needs a million watts of power to shine. Yes, the more you can give it the better, but I do think there is a cap to that. Granted, I’m sure the S15 can handle a lot but the benefits it seems begins to diminish at a certain point. This is a nice sounding set that seems to react and synergize pretty well with most sources.
Sound Impressions
Note: all critical listening was completed after roughly 25 hours of burn-in. To be honest, I really don’t know if this helped or not because I loved the sound out of the box. So, I don’t know if burn-in is really needed. I usually complete at least 75 hours on most sets, but during my check up on the S15 I found no real reason to go any further. I used flac or better music files for all listening, I used the stock shallow bore tips, stock cable and I listened mainly on 4.4 balanced on each source. Primarily the Shanling M6 Ultra.Great way to hear my music!
Listening to the Letshuoer S15 is a great way to hear my music folks. I don’t want to come across as though this is the best thing on planet earth, but the sound is ridiculously good. Let’s just get that out of the way, no confusion. The S15 is a very nice sounding set to my ears. Does the S15 compete with other sets of different driver configurations within the price point? Now that is a more nuanced conversation. For me yes, but for you? As far as planar magnetic earphones go, I find the S15 to be engrossing and unlike any I’ve ever heard. Of course, the price is definitely something to consider. So, another question I will try to answer is if that cost is reflective of the S15’s worth. Again, very nuanced and not simply a cut n’ dry answer. Also, these are my own personal and completely subjectively objective thoughts and my own preferences. So, I will do my best to explain what those preferences are so you may have some sort of a gauge.What does it sound like?
The sound of the S15 comes across as warm/neutral, or warmer with a slight tilt to neutrality. It’s warmer listening with the M6 Ultra and slightly closer to a neutral sound with the iBasso DX240. However, there is always that hint of cozy warmth to add fullness and realism where needed. If I were to categorize the sound, I’d say it’s a warmish U-shaped sound or even a warmer W-shape sound. Somewhere between the two maybe.The sound has this solidly lean-lush note weight that carries good but smooth note definition throughout. I’d call it lusher than it is lean. Some areas of the mix are more defined than others though. I find the sound to be punchy, thumpy, but also structured, never sloppy, and decently detailed too. Depending on the track being played and what area of the mix we are talking about of course. Resolution is very nice for the tuning. The stage leans more holographic in its presentation than it does flat like most planar sets. Imaging is good and sound layering is fantastic. Macro-dynamics are full sounding across the board and even lower volume micro-dynamic shifts come across agile and clean.
Nothing inherently bad
I don’t hear anything that jumps out at me as inherently bad. Possibly those who yearn for an ultra-lean, snappy and ultra detailed response may not appreciate the S15 on every track. Maybe those who want a bright and crisper sound will want to keep looking. But honestly folks, I really have enjoyed my time with the S15. I think that (for the most part) the sound is smooth, coherent and well controlled. The sound is transient swift yet there is evident fullness within the body of a note. This note weight and clean warmth helps the atmosphere in my music to bring some emotion to the sound. The biggest thing is the warmish and effortless musicality that I hear which invades my senses folks. Probably not for everyone but for those that enjoy this type of sound… You’ll be impressed.Quick look: Sound between the 20’s
The bass is surely emphasized and holds a large part of the focus of this set. I would say we have a mid-bass emphasis, but rest assured the sub-bass and mid-bass do well to share the lower half of the mix. It’s pretty big and pretty fast and able to handle fast bass passages fairly easily. The beauty of the bass is the full and round note delivery though.The midrange is more forward than it isn’t with great presence in the mix. There’s some depth to the midrange and some good and dynamic energy that is wide and immersive for vocals and instruments. Males have plenty of authority and aren’t really recessed. Females are a hint more forward; they have some warm bodied shimmer with a softer vibrance but without going overboard. Females are so very easy on the ears.
The treble comes across as softer in note definition but nicely emphasized. I find the treble to be a very nice piece to the puzzle without ever adding any peakiness, glare, or sibilance. The treble will not please treble heads or those who struggle hearing this frequency, but it does lift up the rest of the mix quite well, in a coherent way. Or just enough. The stage is wide and even has good depth, again, Imaging and layering of those images is really great for a planar. Also, per the softer, fuller, warmer tuning… Detail retrieval is better than it should be.
If this is all you read
If this is all you read, then just know that (in my opinion) the Letshuoer S15 is simply one of the best planar magnetic earphones that you can buy for under $400. The entire mix is accounted for and well-tuned with plenty of vibrance, emotion, and yet capable of a very nice technically adept sound.
Bass Region
This is a very nicely done bass region for a planar set. No doubt. I consider planar bass to be a good middleman between a leaner, speedier & drier balanced armature type low-end, and the organic boom and reverberant authenticity of a dynamic driver. Folks, the S15 is the epitome of this sentiment in my opinion. Truly it has a deep enough grumble and rumble to hit those decently extended sub notes, and it has tactile speed and punch as well without coming across too knife edged, artificial, bloated or muddy.Absolutely smitten
There’s this elastic and rubbery malleability that adds realistic weight and body to the texture of a bass drop, bass guitar riff or kick drum boom etc. There’s also a warm roundness which holds the Integrity of the timbre through a note and releases cleanly after the efficient sustain forming a resolute note definition. It isn’t falsely over-saturated, over resonant, it isn’t fuzzy, or pillowy, and isn’t too vibrant in its tonal color. It isn’t dry, and damn sure isn’t weak. This bass is nicely separated with almost the same type of naturally occurring timbre of a DD. Really. Not quite there but similar to my ears. At least on the initial attack that is. The bass has a very clean and hard lined attack edge at the crest of a note and a short lived sustain. I don’t want to oversell but I also don’t want to undersell, and so I may be in a precarious situation with my words. However, I’m absolutely smitten with the sound of the S15, and the bass is one 3rd of the reason why.Sub-bass
The sub-bass reaches deeper than I thought it would be able to while still being able to coherently deal with the rest of the mix. The sub-bass strikes a great balance of cohesion and dynamic amplitude. There is a dynamic balance on this set and the sub-bass quite literally is one of the cornerstones or foundational anchors to that dynamic balance with the rest of the mix. Now, the S15 is certainly capable of some rumble down low and has plenty of palpable haptic feeling to the sub-bass which comes through to the listener as vibrational energy. It adds some nice depth to the sound. I still wouldn’t exactly equate the sub energy of the S15 to the feel of a good Dynamic Driver, but in some ways… it’s just as good. In its own planar way.In the track “Groove” by Ray Wylie Hubbard, the S15 gives a gravely and very rumbly performance as the bassline sets the tone for this track. I use this song probably more than any other to describe bass in my reviews. I know what it’s supposed to sound like, I know what deep sounds like on this track, I know how tight the reverb can sound or what it sounds like when it’s muddier and sloppier. The S15 takes this sonorous sound and gives a good low-pitched rumble that doesn’t have any overhanging and lagging harmonics. Instead, it is easily distinguished and discernable with a bigger than moderate low toned and tight 3D presence.
Mid-bass
Moving on to the mid-bass, I do feel the very slight majority of the low-end volume is in this region. The mid-bass has some real nice slam with a very robust and warm boom for bass drops and a good and full droning growl for bass guitars. For the most part anyways. Kick-drums like those in “Billie Jean” by Weezer (Michael Jackson cover) sound very hard hitting and decisive with a booming and hollow thud that’s met with a nicely tacky edge. I don’t hear as much of the resulting decaying harmonics from the kick drums but the S15 sounds really nice to my ears. The S15 has great cohesion and depth to the bass and sounds very good against the neutral/warm backdrop of the rest of the mix. It’s a hard-hitting density that couples well with the lush airiness in the overall tuning. It’s agility-rubbery-textured meets rigidity & bold authority.Mid-bass cont…
Another track is “Feelin’ the Miles” by The Wilder Blue which has a warmer atmosphere to it. There’s a sick bass guitar riff which literally carries the tune. I love how the S15 can replicate the fullness of this instrument and does so with great tonal color and actual dimensionality. There is something to the sound which is palpable enough to mimic proportions. It’s full, meaty, it’s emphasized too. However, that emphasis does not overtake the rest of the mix. The percussive elements on this track are many and each is displayed very cleanly, with an organic & lush try at precision. I also like “All My Life” by Lil Durk as the mid-bass has a well composed boom and then gets out of the way. It colors the mix without clouding the mix and not to a detriment. The bass drop on this track is hard and not pillowy at all. It’s structured and not muddy. It’s macro-detailed and not one-noted. Smoother than it is crisp and has great note weight without adding a veil to the sound.Further thoughts on the bass region
From the moment I put this set in my ears I have enjoyed the low-end of the S15. I would call it the “darling frequency region” of the S15, but that is very much debatable. I love how complete the bass makes the S15 sound. Never too much to become gaudy and over-resonant or over-saturated, but big enough to have borderline Bass-Bois bobbing their heads. Not quite bass head to me though. The bass is simply a well-represented & fun sounding bass. Also, it isn’t technically deficient. I feel this bass is great for fans of hip-hop, edm, even jazz and any other genre which relies on a dense and authoritative bass region but doesn’t go overboard.Downsides to the Bass Region
As far as issues which may arise in the minds of some of the folks in the hobby, I’d say that for sure the S15 may have too much low-end emphasis. Those people who enjoy an ultra-quick, drier and transient rapid type listen will feel this is a little too much. I’m sure. The other thing which may be an issue in the bass range is that there are sets in the price point which can do a fun type of bass a bit better. There are DD’s which can perform a slightly more organically authentic sound and can do so with more feel to the sound and boom. However, I say that but what the S15 does is it carries this low-end in a way that has some measure of exactness without losing its tonal color or heft. There is density to it and a juicy element that still holds tight to its depth and roundness. But there’s also a measured approach to the bass that can easily take faster bass tracks just as well as it can perform a booming bass drop. It’s flexible, rubbery and It’s a nice bass for a planar set folks. Who am I kidding, it’s a great bass for any driver configuration.
Midrange
Oh, my friends, I love this midrange! What an inviting and sultry sound that holds my attention so well. The midrange is the type that sounds forward in the mix with plenty of warm air to the sound yet still comes across with some splashes of healthy separation. I call it U-shaped, but the midrange gives me doses of a W-shape sound. The mids are more neutral than they aren’t but keeps this slight ubiquitous warmth which adds so much to the sound. The nice thing is that this warmer airiness or lush openness is not at the expense of note weight. In fact, the weight to the midrange sounds very natural. Of course, this is my interpretation of what “natural” sounds like. Perhaps just a tad less weighty than natural but certainly in a “lean-lush” way with a very technically adept sound that is just as transient-swift as it is atmospheric.The crazy part is that the bass doesn’t add this veiled weight to the sound. The S15 depends solely (it seems) on its natural body which completely separates this set from other planars in my opinion. The timbre is very nice, especially for a planar iem. To be completely honest, I absolutely dig the vocals here! I mean I REALLY ENJOY them! Now, it isn’t the Penon Fan 2 type of warmth, forward, & meaty vocal, or the Aful MagicOne type of holographic neutral forward vocal either. Instead, it’s this type of delivery that manages both smoothness & non grainy crispness. I feel the S15 does whatever the track asks it too with hints of coloration, dense malleability, and a completely musical character.
Lower-midrange
As I said, the low-mids have some carry over from the bass region which adds just enough body to a male vocal for me. I would usually like a hint of more warmth here but I’m not complaining because most male vocalists come across with good presence in the mix and are prominent while maintaining good placement. Listening to the raspy voice of Chris Stapleton in the track “Higher” (from his latest album) shows off the smooth texture of Chris’s voice in less dramatic parts of this song. As his voice raises, the natural knife edge to his voice comes out but the S15 maintains its control over the timbre on these occasions. I don’t hear that planar electric fuzz and grain at the note edge, but instead I hear a constrained and controlled intonation to his voice with a smoother and more round note delivery.A lower pitched baritone like Avi Kaplan in “On My Way” has a very nice sound as the S15 keeps a strict control over his voice with a deep and crisp sounding vocal treat. His vocals simply sound clean. Higher pitch male voices like Noah Kahan in “Bury Me” sound a bit more forward in the mix and have a nice sounding intensity or glimmer, while his voice also sounds a bit leaner than lower pitch vocalists. There’s always a certain density or solidity which brings an otherwise artificial sound (Noah’s voice) back to earth. The sound is more neutral on this track and some of the lower pitch warmth is not affecting his voice as much. His voice almost has a luminance to it which isn’t perfectly natural sounding but very nice to listen to. Also, what’s natural? His voice sounds amazing folks.
Upper-Midrange
The upper midrange is where most female vocalists reside as well as a lot of instrumentation. As far as female voices, they come across more forward in the mix than males though the difference isn’t great. You know what, I just have to say before moving on… Female vocalists sound freakishly good for a planar iem. In fact, I’ve never heard a planar sound so full and so enveloping in my time in this hobby. Okay, carry on… Females have some shimmer to them and mostly come across lushly open (if that’s a thing… it is now) and have some added vivacity while never carrying over into harsh pinna glare. I find the S15 does an admirable job providing a robust female voice with actual texture to them. This is not always the case. Some iems will come across even warmer and they will have that juicier sound and they will have that great texture. However, the S15 does the same (juicy, texture) but also with a more naturally open sound, more non-brilliance airy while still maintaining that smooth and engaging quality. Females still have that lean-lush but also solid note weight and sculpted smooth presence that works very well.Eerily Mesmerizing
Gracie Abrams has a more soft and feathery voice on the track “Will You Cry?”. The S15 is well able to surround her voice and give it some weight while holding tight to that feathery and lite inflection and tone. She sounds nice. Taylor Swift sings “The 1” off her “Folklore: the long pond studio sessions” album released recently. The S15 gives Taylor a black canvas to work on as her voice is almost hauntingly sweet and smoothly defined with a very nice body to her vocals. Her tone is dimensional, natural in her intonations, but eerily mesmerizing and emotionally inviting. A lone trickling piano arranges the melody along with slight percussion etc. The piano notes are bouncy, vibrant enough, but are also stretched out in body which arranges the mood of the song. Like reminiscing of “what could have been” but with a smile on her face. This isn’t a song review though. However, I love the S15’s ability to convey not just difficult and fast paced tracks, but also slower and more emotional tracks like this one. Her voice is very melodic with the S15 having almost perfect tonality for this song. To me, females in general sound very nice. No doubt it won’t be for everyone (my constant disclaimer), but the S15 will please many.Instruments (in general)
Piano in this region has a nice root tone and the residual harmonic resonance sounds nice to me. It sounds real to me. There is a 3D type placement of the stage and a 3D rendering of each instrument and voice which is very revealing. Acoustic guitar has a natural sound with easy to pick up details especially on acoustic tracks. Electric guitar is easily digestible without that sheened-out glare. Even sustained in distortion I find it very enjoyable and never really harsh. Percussion has a very nice luster in most any track. Especially snares which pang with a snap to them. Cymbals have that bodied and warm “chisk” & tambourines (for the most part) chime and shake with good energy. Violin goes from nicely brassy and bright with a sharp edge to warm and almost wooly, again with adequate note weight and definition. Friends, I’m not going to go through every random instrument I’ve heard. These are just very broad and general descriptors which come from my notes taken from songs on my Playlists. Just know that I didn’t hear anything outright “off” to my ears.Downsides to the Midrange
When picking apart the midrange to find subjective gripes or issues I suppose I could say that there are instances when the right track can become a bit too sharp. Too few and far in between to call this a “con” for me but for someone else it may be a deal breaker. Especially for those ultra thick, warm/dark midrange lovers; they may not appreciate the overall tone & timbre of the S15. This isn’t the most technically savvy and most detailed midrange. Though I would say it is just fine. However, I could see some folks wanting a leaner, snappier, more technical midrange. Some folks may want a longer sustain to the harmonics that planars don’t necessarily have all the time. The tighter transient behavior of the S15 actually can come across atmospheric though. Of course, it isn’t perfect. However, at the end of the day I think the S15 sounds great in this region. It’s warm/neutral and lean-lush note body has great note definition, above average resolution and is great for detail retrieval.
Treble Region
The treble presents a slightly less lively top-end but still has a pleasant amount of emphasis which balances very nicely with the rest of the mix. Almost leaning dark but is saved by some milky luminance that adds just enough smooth levity to the sound. However, I would not consider this a sparkly or brilliant treble region. Treble heads will want to look elsewhere. Still, there’s good coherency of sound between the treble, mids, & bass. I feel it is lifted enough to add a mellow but natural vibrance to the upper mids, some snap and energy for percussive instruments and is able to slightly uplift the overall sound. Enough so that I wouldn’t call it darkish or subdued. I’d like to say it’s just enough without ever becoming fatiguing to my ears. In fact, even when raising the volume, I didn’t hear that screeching treble sheen or shout. Letshuoer made sure to tighten up this region with smooth compactness. So no, it isn’t the most boosted, but it is a nice sounding and musical top end. I feel there is some improvement in harshness from previous versions, like the Letshuoer S12 and S12 Pro. I hear an evident reduction of actual treble air compared to those sets but what I’ve gained is note structure and better bodied note definition.An improvement
The highs on the S15 have very good resolution and they come across with good bite. There is ample energy that is rewarded with decent haptic feedback which does add another dimension to my music. Don’t get me wrong, this isn’t a treble heads paradise, but it is a marked improvement (in my opinion) in the Letshuoer lineup from earlier sets. The treble comes across a bit smoother and not as edgy and grainy over long periods and everything is just “kept in check”. There is a healthy balance of warm shimmer with good treble presence and a nice ability to expose and highlight the subtleties within a track. Not a detail monster though. It’s more lush, authoritative in its richer note structure which isn’t exactly a precursor to detail retrieval. Still, it isn’t bad by any stretch. I feel for those people who would’ve liked less treble emphasis than something like the S12 Pro would likely appreciate what Letshuoer did on this set. There isn’t any forced resolution or any pushing of the treble quantity in attempts to add some air, extension, or details, which at times can make the sound artificial.Examples
The great thing about this set is that the treble fits the other frequencies very nicely. Somehow. Again, the treble balances very well and doesn’t seek to overtake any other part of the mix. It simply works in a smoother bite with enough slight brilliance, and I think the result is great. The treble is transient-snappy but does so with this fullness, which flattens the perception though make no mistake, the S15 can take on the quickest tracks with relative ease. Listening to Billy Strings “Secrets” is a good example. The S15 easily replays Billy’s breakneck speed of his guitar and banjo and does so effortlessly. Every note is accounted for. The cadence is on point, the timbre sounds awesome, and I don’t hear any blending of sounds at all. “Bishop School” by Yusef Lateef is another track I use quite a lot as there is a lot of treble activity within it. I really enjoy how well the S15 is able to create space and delineate each instrument in this lusher environment. Granted there are other sets in the price range which can also do a great job on this track with more bite and tactical ability. Basically, it isn’t a miracle set and it doesn’t have the most brilliant sound up top. Still, I am impressed when I look at the entire scope of the S15 sound.Extension
Extension is also pretty nice on the Letshuoer S15 as we have a reasonable amount of info obtained past 10k. I wouldn’t call the S15 the most extended, but it plays very well against the overall mix. For instance, the secondary harmonics of a cymbal strike doesn’t have a splashy sustain and doesn’t come across digital, or like a mishmash of treble sheen. I don’t find them to be attenuated either. Warmer in body and natural in note portrayal. I find extension nice. Not the best, but nice. It isn’t a detriment, let’s put it that way.Downsides to the Treble Region
What are the problems with the treble? Obviously treble heads will want an even more naturally weighted and haptically vibrant treble that’s even airier. They’d probably be looking for better fine micro-nuance control, and easier to distinguish details. For the price that is. Beyond that, I would certainly say that warm and dark fans would likely not completely appreciate the amount of shimmer and sparkle up top. That all said, I think the treble is very nice. I don’t find the treble to be sibilant at all, it sparkles yet doesn’t pierce, it isn’t shouty or harsh and the note structure and body is well done in my opinion. Also, I will repeat what I said a moment ago, the treble really does fit the overall sound in a very coherent and nice way.
Technicalities
Soundstage
This one surprised me and I’m not sure why. I suppose I was awaiting the dreaded flat plain of sound that I always hear on planar magnetic sets. Of course, I’ve had quite a few where they had some depth and 3d qualities so… I don’t know why I worried. The stage size of the S15 is good for what it is. I hear a pretty wide stage with decent height (maybe average) and I hear nice depth to the sound. There is a 3D element to my music which adds a somewhat holographic sound field within my mindscape, in a way that sounds realistic. Some tracks it does feel like I’m in the room with the band. I wouldn’t call the stage some massive expanse of sound, but I do find it above average in size. Overall, the stage is a plus in my eyes. Let’s put it this way, there is most certainly nothing which seems cramped or congested … At all. There’s air and room to breathe folks.Separation / Imaging
Separation of elements within an imaginary stage have no issue sounding distinct and delineated to the extent that a track will allow. I think this is an area where the Letshuoer S15 excels which is usually a hallmark trait of planar magnetic earphones. Some do it better than others of course. The faster transient attack/decay, the clean notes and nice definition (albeit smooth), the space inside the stage to operate and the capability of the drivers all goes into how well the S15 is able to create space and separation. Imaging is another strong suit. So long as you aren’t listening to a bass heavy track. In those songs I did notice some blending happening. We have fantastic depth for layering of sounds which helps tremendously in how well I am able to place an instrument. Left to right is spot on as well. The S15 is good y’all.Detail Retrieval
The Letshuoer S15 is a very capable iem friends and I think that detail retrieval is another area that the S15 will not dissatisfy those who enjoy a richer sound. Again, the sound is open enough, snappy enough, clean enough, and balanced just enough to afford the listener with some of the finer nuances within most tracks. Possibly on bass heavier songs with mid-bass boom overtaking the rest of the mix, that is a moment that you obviously won’t hear every last fine detail. Of course, nobody is listening for details on a bass heavy track, let’s just be real. However, in songs that most folks generally enjoy picking apart the subtleties in their music, I think you’ll be happy with the S15. Live tracks are phenomenal, and I do enjoy listening for finer details in the face of a warmer and more solid delivery.Details cont…
Now, is the S15 a detail monster? Um… No. No, I don’t think the main tuning strategy was to assure that the S15 would be a detail king. This set was tuned well with a nice mix of technical and musical and I’d say that Letshuoer absolutely nailed it. To me it’s much more-so on the musical and emotional side of the aisle. There are plenty of actual detail banger iems out there in the Audioverse and especially within the $300 to $400 price point. There are sets that specialize in this attribute and most of the time those sets will not carry this sense of musicality and macro-dynamic fullness. They are usually less musical, more analytical and drier sounding with an even better balance across the mix. I still maintain that the detail retrieval of the Letshuoer S15 is certainly a “Pro”, especially in the face of this tuning effort.
Comparisons
Note: Due to the length of this review, I will keep all comparisons very general and more concise than usual. I will still do my best to help the reader understand what I believe the differences are so to help with understanding the set I’m reviewing. None of my comparisons are a duel to the death or a battle to find out which is better. That is pointless to me, and I don’t think it helps you to make a good decision. However, verbiage within the comparison may just make it easy to spot the better set. Letshuoer S12 Pro ($159)
The Letshuoer S12 Pro (S12 Pro Review) is one of those sets that quite literally did almost everything right. For me anyways. The S12P (as I’ll call it) is a true banger of a set that was generally praised almost across the board. Truly a fantastic set which is still in the mouth of hobbyists. As it should be. The S12P also has a 14.8 mm planar magnetic driver and comes very well accessorized in a way that is fitting of its price. Truly a beauty of a set that is still one of the most gorgeous in its price point.
Differences
For starters, both sets are built differently. I have a sneaky suspicion that many folks would consider the S12P the better built set. The S12P’s built with an all-alloy build while the “HeyGears” resin build of the newer S15 is not quite as solid. I don’t necessarily think that though. The HeyGears build quality is phenomenal and won’t corrode and you won’t get scratches or scuff marks either. But still, if “durability” is what we deem the defining characteristic in “build quality” then, I’m sure many would consider the S12 Pro the better built set. I would also venture to say that most folks would crown the S12 Pro the better-looking set. I’m also not as convinced on that, but again, I’m sure many folks will see it that way. I actually like them both quite a lot. The S15 is a bit larger but I find them more comfortable as the material is just easier on the ears. Accessories are obviously much better in the S15 as well. Of course, the most important difference is that the newer S15 is roughly $180 more expensive.
Sound Differences
I find the new S15 is a bit warmer whereas the S12P comes across slightly more vibrant up top. I find the S12P to be more V-shaped then the S15 as the S15 has a slightly better balance over the mix. Between the two I find the S15 has better note definition and better control over the mix. The S15 has much more of a thick and rich timbre that is better textured to the S12P’s leaner sound. Details emerge well on but the S12P does illuminate the minutiae a hair easier. Imaging is better on the S15, and the stage size is a bit larger too with better depth of field on the S15. The S15 simply has (in my opinion) the more engaging sound with thicker note weight across the board.Bass Region
The S12P and the S15 both have a healthy bass presence but the S15 simply has more control over the region. There’s a more round and warm depth with better texture. Not taking anything away from the S12P. The S15 has an easier time keeping up with quicker bass tracks and has a more solid density down low. I find the S15 to have a more robust and warm authority on attack whereas the S12P comes across thinner and less dynamic in comparison. That all said, the S12P has flatter slam and flatter boom with its increased quantity compared to the S15. You can hear pretty easily that the S12P has more sub-bass emphasis, but even with the emphasis the S15 has better tactile and palpable feel to the drone down low. The S12P has a more vibrant ADSR delivery with a flatter perceived presence. The S15 is simply fuller and more 3D in its attack presence. The S15 flat out has the more sophisticated and developed bass.Midrange
The S15 has a more forward midrange but also a more robust note weight while coming across smoother to my ears as well. Fans of a drier and leaner and more lustrous presentation may enjoy the S12P a bit more but for everyone else the S15 is absolutely engrossing in this area. The S15 does vocals with a silkier and inviting tonality and timbre and with a more 3D note delivery. Females aren’t as vibrant on the S15, but they are more luscious and charming to this guy. The S12P doesn’t have the body and 3D rendering and layering of the S15. The S12P has a brighter sound that adds that planar grain to the attack edge which the S15 does not have.Treble
I find both of these sets do the treble very well in their own way. I wouldn’t be surprised to find many folks digging the S12P’s treble a bit more as there is more clarity & brilliance up top. Again, the S15 has more note body and fullness with just enough bite and haptic recognition. The S15 has a lusher body and a more mellifluous sound altogether. Both sets have a decently extended treble but the S12P does define the finer details a pinch better. Of course, that’s at the expense of rich musicality.My thoughts
Guys and gals, what can I say? This may be an easy decision. The defining factor in all of this will affect almost everyone differently. That is… $180 more. That $180 speaks volumes. Now, I do feel that these two have enough tonal differences to warrant a “preference battle”, but in the end it’ll all come down to what you can afford. If you can plop the extra dough down on the S15 then it would be irresponsible for me not to tell you that “Yes, the S15 is the better iem”. In fact, without question the S15 is the better set in my mind. However, that’s just me. Just because it costs more doesn’t mean it’s better for everyone. If this was a preference battle for you and your preferences aligned closer to the S12P than… Easy decision. The one thing that is true about both however is that both sets are very good options where they are priced.
Hidizs MP145 (Now: $149 MSRP: $199)
What a great set this is friends. I was absolutely taken aback by the Hidizs MP145 (MP145 Review) and how well it replayed my music for the price. This set is a stunning peice of art that is absolutely built like a tank. What Hidizs did with this set is nothing short of impressive. The MP145 has a 14.5 mm planar magnetic driver and a hulkingly large frame and chassis. Truly one of my favorite iems of 2023 folks. But does it do enough to warrant purchasing the S15 instead? Or does it make sense to upgrade to the S15?
Differences
For one, the MP145 is built to a champion level and seems to be built more durable. I don’t know if it’s as structurally sound as the S15, but it is built very well. Made with an all-alloy build and enormous in the ear, the MP145 is truly a uniquely designed iem and I guarantee you won’t purchase anything else quite like it. I like both designs and the aesthetic appeal of both iems but it’s hard to say the S15 looks better. Both sets are accessorized very well, but I’d give the nod to the S15 as that cable is great and it has a carrying case. Without question the S15 is the more comfortable set of the two as the MP145 is just very large and sometimes the cable slides off the ear. Though weight distribution is great. Of we are going by MSRP than the Letshuoer S15 is about $130 more in price, so obviously that is something to consider.
Sound Differences
I find both sets offer a warmer delivery but the MP145 is a shade brighter. I find the timbre of the S15 has less of that planar timbre and a bit better note density. Both sets have a near 3D sound field but the S15 does give a rounder presentation, a more weighted presentation and a more holographic replay. The S15 has a more expressive macro-dynamic fullness with more dimension to the sound. The S15 is also a bit smoother in my opinion. Detail retrieval is actually a bit better on the MP145 but they both fare well there. I find imaging and placement of elements within a stage easier to spot on the S15. The soundstage is a bit more widespread on the MP145, but depth of field is better and more 3D on the S15.Bass Region
I find both sets have a nicely tuned low-end. Both sets can BANG friends! However, as far as actual quantity is concerned the S15 has a bit more with a more robust sound but both iems carry nice transient swiftness. The S15 has more of a solid note definition as the MP145 is a bit more pillowy at the note edge on attack. The MP145 sounds flatter in its note delivery to me with a drier tone, more paper to a degree. The S15 is more dense, secure, round in its presence and bolder in authority. They are simply different animals. Both are really great in my opinion, but both will appeal to a different audience.Midrange
The S15 has the milkier, smoother and thicker sound in this region while being more forward in the mix for both males and female vocalists. I love the MP145’s vocal delivery and really do prop it up at the price it is at but the S15 is simply more enthralling, more engaging, lusher, more 3D, and simply comes across a bit truer to life. Both are fantastic but the S15 is special here folks. The S15 is somehow warmer but also more sprightly, more lively, more dynamic. Details emerge good on both.Treble Region
The highs on the MP145 come across brighter with slightly better extension I to the highest of highs. The S15 has better definition in this region with better control. Better micro-dynamic agility and adds some extra bite and contour that the MP145 only slightly lacks in comparison.My thoughts
Another great set that is far cheaper than the Letshuoer S15. Perhaps these are horrible comparisons for this review. I figured anyone wanting a planar set may just want to read about other planars iems in the market. Maybe that wasn’t the best decision? There are very few planar sets in the same price point, and I can only compare what I have. Still, we find ourselves in the same predicament as the last comparison. The S15 is a lot more money. Yes, it is a better sounding set (to me) but is it that much better? Well, people will pay for incremental changes folks. That’s just a hard reality. This is a personal decision for all of you who are reading if these two are in front of you. Both are phenomenal at their price, and both make this reviewer very happy.
Raptgo Hook-X ($239)
The next comparison is yet another planar magnetic earphone, the Raptgo Hook-X (Hook-X Review). The Hook-X is flat out one of the best sounding planars in the market. At least that my ears have heard. I have held this set on sort-of a “planar pedestal” to which my bar, or my personal standard would be set for this specific driver type. The Hook-X does have one more thing up its sleeve. Not only is it equipped with a 14.2 mm planar magnetic driver, but it’s also outfitted with an 18-layer double-sided Piezoelectric (PZT) driver. Truly this is a set which came out of nowhere and rightfully made huge waves throughout the hobby. Surely the Hook-X has been able to stay relevant as well as remain one of the best and most complete planar sets out there. Now, whether it stacks up to the Letshuoer S15 is another thing altogether.
Differences
Beginning with the build of each set; the Hook-X actually has an alloy shell and an open back plastic faceplate. Of course, we know the S15’s build by now. I think this is pretty much a draw in my mind. Both sets evoke feelings of durability and longevity, and each has a structurally sound chassis. As far as the look, again, I love these both. I couldn’t choose. Both look dope. Now, the Hook-X is a bit larger with a deeper and slightly wider shell, but I would say that the Hook-X does fit me a little better, though neither set is a bad fit. As far as accessories, the S15 is the better accessorized set of the two, but again, both are great unboxing experiences. I would say that the S15’s cable is better, more premium but both are great modular cables.
Sound Differences
Between the two the Letshuoer S15 has the slightly warmer sound yet never really strays from that warm/neutral sound. The Hook-X has some bright spots likely brought on by the PZT driver which handles the high-highs. I find the S15 has a smoother delivery with better clarity and control. Please understand that this is very minimal. I just find the S15 has a bit better control over the mix with a more contoured playback that defines notes a bit better. Not only defines them but seems to handle micro-dynamics or transients a bit better. The notes are more round and complete to me. Both sets have a more expressive macro-dynamic sound but the S15 sounds fuller and more buoyant. Both sets perform detail retrieval very well. Possibly (this is certainly debatable) the Hook-X draws out the finer stuff a bit better in the treble region while the S15 sounds more resolute in the midrange. Imaging is great on both sets, but the soundstage has more depth on the S15. Not that the Hook-X lacks but the sound field is more out in front and wide, it’s big but sprawled out in front. The S15 is all around.Bass Region
The bass on both sets is pretty similar in quantity except I notice that the Hook-X has some additional resonances at times while the S15 keeps tighter reins on its bass region. Both sets are very dynamic in this region, and both can entertain faster bass tracks with no problems. Truly both sound great down low with the type of bass that will be what a track asks it to be. Maybe the S15’s bass sounds a hint more forward as the Hook-X has some extra treble emphasis to sort of counter its low-end to a degree. After listening to about 10 bass tracks, I feel the S15 has a slightly more polished bass. Again, I am very happy with both as the differences are marginal at best.Midrange
Beginning with male vocalists I find the Letshuoer S15 carries thicker note weight and once again has a fuller and more natural sound. I hear the Hook-X has a more forward sound which can be a bit too lustery and grainy in some situations. Especially with males that perform at a higher pitch. Lower register males have a stouter sound on the S15 with a rounder and more complete sound. Females pretty much follow suit. In the Hook-X they sound generally brighter, drier, shimmery, but really do sound nice for what it is. The S15 on the other hand has some semblance of shimmer but it’s kept in check while holding onto that note body and note roundness. The S15 has such a naturally holographic and well-tuned sound which separates all sounds and has smoother but more contoured vocals and instruments. The Hook-X simply comes across brighter yet has less dynamic energy. It also is subject to minor sibilance whereas on the S15 that is nowhere to be found.Treble Region
The treble of the Hook-X sounds brighter, more brilliant, maybe the emphasis adds some details that are easier to pick up on the Hook-X, but I echo this entire review; the S15 has better body! This is huge! The musicality aspect is so easily discernible friends. The Hook-X has a bit more treble bite as well and does have better treble extension up top but the S15 sounds less splashy with a more robust vibrance. Without question, clarity is better on the Hook-X in this region as it simply is boosted enough to cater to it. It’s drier and separated better in this region. Attack bite on the Hook-X is sharper, albeit thinner and brighter. I certainly enjoy the S15 more in this area as it is much less offensive. The Hook-X treble rise does affect the midrange snappiness and attack edge for percussion and detail retrieval is better on the Hook-X up top. However, I adore the sound of the S15, and I’d take it’s lush, smooth, and bodied sound any day.My thoughts
I realize this comparison doesn’t exactly sound like a ringing endorsement of the Raptgo Hook-X. However, it is a great set, truly. It has a slight bit more brilliant treble energy and can be a hair peakier, but it holds its own against any planar. Still, the S15 is a different beast folks. It is simply better in my opinion as it has the more controlled, and holographic replay with more of a musically toned sound. It also has better and more full note weight, but resolution may go to the Hook-X. Of course, there is a substantial price difference once again to be mindful of. Both are truly great sets for most any collection. Unless of course neither of them sounds like your preference.
Is it worth the asking price
This is the big question from so many. They want to know, is the S15 really worth such a huge price jump? I read quite a bit of outrage over the pricing of this set. Is the S15 even worth this huge price jump from other planar iems? Let me start by saying, maybe. Like I said before, it all comes down to your “own” wallet & your “own” preferences. The truth is, you’re asking a question that I or any other reviewer can’t answer. How am I to know if the S15 will be worth the $200 more to “you” and for “you” than let’s say… The S12? It’s a ridiculous thing to ask really. I read on some forums, in Facebook etc. many comments revolving around “Is the S15 really $200 better?” What!?Listen folks, I’m not in the game of telling you what’s the worth of anything… for you. You decide. There is no quantifiable way on planet earth to distinguish if anything is worthy of its price better than how it makes you personally feel. I’m not doing that for you. Letshuoer can ask whatever they want folks. They could’ve asked any amount for this set but they felt $330 was the amount that was reasonable for all the hard work they put into it. I get it though. It’s more than you are used to seeing. Well friends, until you put them (S15) in your ears, you won’t know. Until you sit and digest this set for multiple hours, you won’t know. Plain and simple. The best I can do is answer this question “for me”.
Is it worth it to me?
Now, do I think the S15 is that much “better” than the other planars I’ve heard? 100% yes. Folks, the difference is substantial, and I do think it is worth the price. But please hear me… I’m not you. I’ve never heard a planar like this actually, and to be honest, it’s one of my favorites. I’m so used to a dryer, thinner, snappier and more artificial sound that when I heard this vocal friendly, 3D & lusher S15 sound… I couldn’t put them down. Truly they are the best planar magnetic earphone I’ve ever heard. Of course they also jive with what I personally prefer. Also, I wasn’t as impressed by the S12 or a handful of others for that matter. They all sound somewhat the same. Impressive sure, but simply different variations of similar tunings. This is different.The Why
Why? Where to start? Let’s begin with the packaging. The unboxing experience is absolutely at the $330 level in my opinion. Of course, not many people really care about this aspect but for those who do, just know it is a nice experience. The S15 comes with a great modular cable, actual good tips which makes sense for the set I’m reviewing. Which is a rarity. The threaded case isn’t bad, and you even get a poster friends! Next, the build is one of those dope HeyGears types with the softer feeling resin with the matte appearance. I loved it on the DZ4, and I love it on this set. The design language is what I would call sleek and modern with a minimalist approach. Very nice. However, it’s always about the sound and always will be. Forever the sound will be at least 80-90% of the true worth of an earphone.Why cont…
The sound is a beautiful rendition of a lush sound yet has a technically sufficient fine tuning and a boldly dynamic foundation which has a 3D holographic and totally immersive quality to it. Friends, it’s special. Now, there are sets out there with different driver configurations that do well against it in this price point. However, this one is very special. You have the transient quick sound which is agile enough to duck and dive around quick and complicated passages of music, but you also have that pervasive smoothness that isn’t simply a one noted affair. Instead that rich delivery has a personality; there’s roundness and a three dimensional, stereoscopic and robust sculpting of each and every note and there’s fantastic cohesion in the mix. Are there subjective issues? You betcha! Not everyone will jive with the Letshuoer S15 like I have. So many folks are in a different place in their audio journey and so many will not appreciate all that I’ve tried to describe. To me the Letshuoer S15 is not just a great planar earphone… no sir. To me the Letshuoer S15 is simply a great earphone in general. Yes, it is worth the $330 Letshuoer is asking for.
Conclusion
To conclude my full written review of the Letshuoer S15 I have to thank the great people of Letshuoer for providing this set for a fair and honest review as well as a feature at Mobileaudiophile.com. I also want to thank you (the reader) for taking the time to actually read my thoughts and I do hope that it has helped you. You are why I do these reviews friends. I’ve been a hobbyist longer than I’ve been a reviewer and I know what it’s like to constantly search and seek out opinions. So, I hope I was in depth enough and I hope I’ve answered any questions you may have.Different perspectives
One thing I implore out of all of you is to seek out other perspectives about the Letshuoer S15. Friends, this set is great but don’t just take it from me. It may not be great at all to the next man. Take in other thoughts and opinions so that you can get a better idea of what the S15 sounds like and if it’ll fit your own personal preference. It’ll only help. We simply aren’t all the same and each of us has been down a different journey in audio, we’ve got different gear, different libraries of music, different hearing abilities and we don’t all have the same likes and dislikes. So please, don’t simply stop at me, check out some of the other reviewers out there who pour their time into their reviews. Please take good care, stay as safe as you are able and always… God Bless!
Full written review
Scubadevils
Great review, has me curious to give it a shot! I love the S12 still.
Aful MagicOne Review
"Do You Believe in Magic?"
Aful MagicOne
Intro
Hello, today I am reviewing one of Aful Audio‘s latest iems, the Aful MagicOne ($139). Folks I am very pleased to be able to present this set of earphones to you and I do hope it helps you in making a purchasing decision. I’d like to first thank the good people of HiFiGo for providing this set-in exchange for a feature at Mobileaudiophile.com. You can find the Aful MagicOne HERE, or at the links below. So, thank you very much Hifigo and thank you even more for only demanding that I speak my truth on this or any other set. Anyways, Aful has been doing special things friends and it really shows with their three releases to date. I am so intrigued by this company folks and I think I’m slowly converting into a low-key fan boy. Okay, let’s pretend I didn’t say that.Aful
Aful was not a name that we in the west were very familiar with. Well at least I certainly hadn’t heard of them. Not until the Aful Performer 5 (Mahir’s Review) was released to the public anyways. Shortly after Aful also released the Aful Performer 8 (Review coming soon) (Pavan’s Review) and I gotta tell you folks, both of those sets are very well tuned and hold a nice spot in their respected price points. Aful actually began their journey back in 2018 when they quickly began setting up their lab and by 2020, they had procured three patents! That’s saying something folks! By 2022 the Performer series was off the ground with the release of the Performer 5, followed shortly thereafter by the Performer 8, which brings us to the set I am reviewing today, the MagicOne. Talk about a startup. This company went from complete obscurity to one of the big players very quickly.MagicOne
I am such a huge fan of this hobby. I don’t proclaim to be the most knowledgeable or most understanding of the inner workings of some of these sets. However, I could not help but be just ridiculously impressed and curious about this set. Any fan of the hobby should be at least mildly curious. I would think anyway. My hats go off to the people who had the craftiness and know-how to engineer a set like the MagicOne. This is not just a niche set, because it covers the whole mix and does so well. To the point that the MagicOne is an actual contender in the price point. Obviously, it has some issues that other driver configurations may be able to handle a bit better but at the end of the day this one BA set sounds very nice. However, I didn’t always feel this way.Wild Ride
I’ve been on sort of a “wild ride” getting to know MagicOne over the course of the last week or two. I went from dissatisfied and disappointed to overly joyous, and everything in between. Of course, this was my fault, the MagicOne didn’t change. However, here I am, and I have a lot to say about this set which consists of one Balanced Armature Driver which covers the whole of the frequency. Also, it does it well. To be completely honest, I’ve only ever heard a couple one BA iems and I’ve never been impressed. I would have also told you that there’s no way only a single BA can cover the entire mix satisfactorily. No chance! Well, based on what I’ve heard over the course of about a week, I’d say I’m pretty much floored about how well Aful was able to make this set sound. Now I know. You can do a lot with a single BA, so long as good ole’ school ingenuity and a willingness to create something special are the top priority. With that, the Aful MagicOne…Non-Affiliated, non-compensated purchase links:
–HiFiGo
–Amazon US
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro Plus
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
Finally, here we are at the onset of my review, and I have to report that I thought Aful gives out a great first impression. The MagicOne comes packaged in a small rectangular black box with a picture of the MagicOne on the front and some specs on back. As per usual. Open the box and you’ll see the gorgeous MagicOne earphones lookin’ all pretty staring back at you. Next to the earphones is the hockey Puck style case that we’ve seen before. Inside the case you’ll find the cable and you’ll also see the six pairs of eartips. Honestly, for $139 I feel the unboxing was decent. Not crazy luxurious but also, who really cares. They give out some quality accessories and cable so I’m more than happy.
Eartips
Okay, the eartips that Aful provides are six pairs in total or two sets of three (S, M, L). I find that they are quality type tips. You get three pairs of the dark gray tips that are colored red (right side) and blue (left side). These tips are more of a narrow bore, pretty firm flange, decently long. We’ve seen these tips for quite a while, and they are great tips for when you need them. The next pair are darn near identical to the last pair in feel, structure, bore size except they are all white. Now, I went instead with my two of my favorite tips, the KBear 07 large sized tips and the TRN Clarion tips. Both help in slightly the same ways with a semi-wide bore and firmer stem. I feel they help just a little with the bringing out the upper-mids and add a bit of punch to the mid-bass. To be quite honest, I’m sure the provided tips would be just fine.
Carrying Case
The case that Aful gives out is the same hockey Puck style case that we’ve seen in previous Aful iems. Perfectly usable, great to throw in a pocket, it’ll keep your iems from getting trashed and is a decently attractive case. Granted, I never use cases but I could see myself using this one just because it is not fat and so it’ll fit in a front pocket easily. Now, you probably won’t get anything else in the case besides the earphones and cable but a good size, nonetheless. I usually carry my iems in a slightly larger case and throw them into a bag with me. I already have a set or two of tws as well with my pockets pretty much filled so adding this guy to my pockets just won’t usually happen. Nice case though, nothing to complain about.
Cable
The included cable is a beautiful wire that is a high purity oxygen free copper and oxygen free copper that is silver plated braided cable that is really nice and beefy. I love it. This is a Litz type-4 style with a coaxial shielded structure. The cable can be ordered with either a 3.5 single ended jack or a 4.4 balanced jack. I think this cable is great because it fits the colorway of the MagicOne perfectly too. Just a gorgeous add on to this set. Thankfully Aful understands how important it is to get the cable right. Also, thankfully they understand how important the cable is to the entire experience.
Now I did swap out the cable for balanced sources being that I was provided the 3.5 single ended jack and I do think that the MagicOne scales with more output power. My devices all have a bunch more power under the balanced configuration and so I went with the KBear Chord 4.4 for these purposes. I think it is a nice and aesthetically pleasing cable as well and looks great attached.
Build / Design / Internals / Fit
Build Quality
Aful provides a solid build in the MagicOne with a chassis built entirely of resin by way of 3D printing. I especially like the feel of this set when in hand. It is very solid and almost has the feel of glass. Nothing even remotely cheap about the MagicOne. The MagicOne is an average sized iem and built in a very ergonomic way. I found the protrusion (wing) on the outside of the shell helps tremendously to seat in my ear perfectly. The nozzles are also pretty much average. If I were to guess without trying to find my micrometer, I would say the nozzles are roughly 5-6 mm and are medium length. About average. This bodes well for folks who simply wants a set that will provide comfort. This is your set friends. So, the build is very solid and perfectly warranted at the $139 price point.
Design
This is where the MagicOne “may” or “may not” lose some people. The look is beautiful, let’s just get that out of the way. Gorgeous. To me anyways. The MagicOne are completely transparent (as you can see from my pics) and you can easily see the inner workings inside the shell. You can see the long and curly tubes, the tech, the driver and it is all so neatly laid out. It just looks so cool folks. Now the divisive part comes from the faceplates. I don’t know if everyone will dig the snowflake design theme. At any rate, the faceplates have a snowflake type design with silver outlining the snowflake contours in a nice pattern. Under this patterned snowflake design you’ll notice what looks like foam, which also sort-of resembles snow. So, the theme is nice. I have zero issues with it. However, I’m sure there are those folks who may think it isn’t manly enough for them. Again, I think it is so inventive, creative and even artsy and I applaud the design team who envisioned this set.
Internals
This is the nitty gritty of this review. The entire mystique or novelty of this set is centered around the fact that Aful chose to use a single “Balanced Armature Driver” to craft this set. It’s a bold choice folks! Aful actually went with a customized balanced armature driver that sits right under the nozzle but a bit back with a wide tube running from the driver to the nozzle. Aful uses what they refer to as “SE-Math Electro-Acoustic Intermodulation, Nautilus Acoustic Maze”. Basically, this is the windy tube behind the armature driver. The theory behind this tech is fascinating folks. I will not go into crazy detail, but I will share a link to a video from Akros (with whom I greatly respect) to further explain much better than I can write it exactly how this tech works. His video is HERE. Thank you Antonio! I hope you don’t mind my share.
Fit / Isolation
I’ve already partially covered how the MagicOne fits me but let me reiterate just how nice this set seats in my ears. Perfectly! I’m not joking, I think this set was made to my exact ear anatomy. It sits perfectly. I have no idea how it will fit you but I’m assuming the MagicOne will fit more than most people very well. Passive Isolation is wonderful too. The MagicOne provides a silent environment where only the faintest of sounds squeak through. Sound leakage is also not a problem so you can listen right next to anyone else and not bother them.
Drivability
Mobile Listening
The Aful MagicOne is rated at an impedance of 38 ohms and a sensitivity of 103 db’s which by all measures should be easy to drive. However, I found this to not exactly be the case. Listening with something like the IFi Go Blu sounds nice but I had to be using the 4.4 port for the MagicOne to really come out of its shell. It just likes more juice folks. In fact, all mobile listening that really sounded great was done using the 4.4 port. The same was true for my dongle-dacs like the Moondrop Dawn 4.4 and the Hidizs S9 Pro Plus. So long as I gave it good and strong power the MagicOne would open up and sound beautiful. Of my dongle-dacs I definitely liked the pairing of the Moondrop Dawn 4.4 the best. They just created a nice synergy that was satisfying for me. Perhaps the slight warmth of the MagicOne reacted well to the more neutral Dawn 4.4.
Daps
I used both the iBasso DX240 as well as the Shanling M6 Ultra for much of my listening. I also made sure to set my gain on both devices to medium and high gain. Each device gets up close to 1 watt of power and I think I was rewarded for using the most of it. I enjoyed both daps as they both have their own flavor to the sound. The DX240 is a bit closer to neutral and the M6 Ultra is a bit more velvet and warm. Both sound fantastic and impressed me a lot. I couldn’t tell you which I like better.In the end
At the end of the day just make sure you have a good and strong dongle-dac at least. Something with some good output and you will like what you hear. Without that added juice the sound is pretty unspectacular and closer to flat for me. Dynamics increased substantially and the sound seemed to open up. The bass tightens and is rewarded with some additional oomph.
Sound Impressions
One thing I wasn’t expecting was such a full sound to come from a one-BA set but alas, this is what I’m hearing. However, when I first put this set in my ears I was not impressed. I felt the sound was dull, bland, not exciting and simply didn’t come across as very energetic. So, as I do, I went away for about an hour and then came back and added a bit more juice, and the sound spruced up a bit. Still, I would say that I wasn’t really high on this set. I even made a Facebook post describing as much. However, I could kick myself because the very next morning it was like the skies parting friends. I’m telling you that it was like I was hearing this for the first time, and it was truly a different experience. This just goes to show you that so many things can affect how we hear our music. I had to share that little experience because it really threw me for a loop!Between the 20’s
Anyways, the sound comes across as neutral with shades of warmth in the low-end which helps to add a nice sense of note weight to my library of music. The sound is what I would call a U-shaped sound with a forward and prominent low-end but not very robust as a dynamic driver comes across. The midrange is also relatively forward with a hint of warmth to hug the neutrality of the tonal coloration. The treble has just enough emphasis to lift up the spectrum and comes across smooth and coherent to the rest of the mix and nicely detailed.Everything just sounds so smooth and so musical to my ears. I hear great macro-dynamic fullness and expression with very lithe and supple micro-dynamic movement for lower volume sounds and undertones. It’s limber, it catches the tiny intonations of a tracks and keeps control. It doesn’t get sloppy…ever. Imaging is fantastic and so is the layering I’m getting from this single BA. Friends I’m truly at a loss for what this set can do and I’m having to rewrite my understanding of what a single BA can do. The soundstage is above average and good in all directions making my music feel alive and realistic and nicely detailed. However, perhaps the most awesome is the timbre. Again, I’m dumbfounded folks. Truly a great sound.
Nice work Aful!
If this passage is the furthest you read just know that the sound is great, but it does have its slight subjective quirks. I will try to outline those issues in the next few sections of this review when I go through the Bass, Mids, and Treble. Nothing is perfect in “all ways” and nothing will ever be, but I find the pluses outweigh and tower over the negatives by a monumental degree. Nice work Aful!
Bass Region
The low-end definitely has some well-defined prominence in the mix. It isn’t the type of bass that will provide anything close to a big DD rumble but… There’s definitely a rumble. It’s concise, accurate, and it’s clean too. I hear a more natural and well-defined bass that keeps some tight reigns on the lower half of the mix. I’d also say that between the sub & mid-bass they operate on almost equal parts to my ears. Possibly a bit more skewed towards the sub-bass. However, the extension in the lowest of lows isn’t very great. It isn’t that bad either. Great for a single-BA and I’m not really missing much here. In fact, just because this bass is not ultra boomy doesn’t mean it isn’t robust. There is a fullness to the bass amongst the tighter delivery. This isn’t a thin and anemic BA Bass. It just isn’t!Good BA Bass
I hear a mostly neutral bass with a splash of engrossing warmth. Transients are perceptively pretty quick with a very astute and nimble note agility down low. I find this bass to be very precise in its undulations and modulations within a bassline, bass drop, drumline etc. with sufficient quantity. Not enough for even slight Bass-Bois but plenty for fans of good bass. Very nice for a single-BA bass in my opinion. Perhaps I need to rewrite my expectations going forward. I truly didn’t think you’d get as much body as you can on this set.I find the quantity to be good for many genres and even good for maneuvering around complicated passages of music in the low-end. It’s a nimble bass. Of course, so many folks only want to know, “Does it BANG?” and the answer is, sort of, I guess. My question would be “How much BANG is good for you?” I’d also say it can, but more-so in a naturally occurring way. I’d usually say it rises to the occasion and I think I’d be right with that assessment on the MagicOne. It can handle a fairly deep reverberant rumble and decent slam that sounds great to me. Will it be great for you?
Sub-bass
The sub-bass has a somewhat limited extension due to the make-up and driver configuration or the limitations of the BA driver. But that doesn’t tell the whole story. The sub-bass still has some grumble & growl when needed. “Cadillac” by Victoria Monet is a song which reaches low and the MagicOne is able to reciprocate with a natural but also pretty damn sonorous vibration. There’s some haptic and palpable texture and tactility to the sub-bass too. Also, it can get fairly resonant and deep but please keep your expectations in check. Most certainly not even hinting at basshead levels, but very good. This is quality, it’s clean, it’s dexterous and yet it can still get pretty guttural too. I’m impressed. This was actually the first area that I wanted to pay attention to and I’m not disappointed. It’s much rumblier than I would’ve thought or better said… than what I prepared myself for.Sub-bass cont…
Another track is “2040” by Lil Durk and Lil Baby. In this song it literally begins with a thundering bass drop. Now, just about any set can sound at least moderately bulbous & bangin’ here, but the MagicOne’s single BA actually hits with decent haptics. There’s some reverberant vibrational energy folks. Obviously, this is not anything like some real and raw DD sets. In fact, straight up… this is not a DD bass, so please remember my position on this. I don’t want DMs of any of you complaining that I told you it’s the same. For a single BA I am quite happy. The sub-bass is one area where we weren’t supposed to have those rumbly feels with a single-BA, or so I thought. The best part of the sub-bass though, to me, is the fact that it’s quick enough for faster bass tracks and equally impressive is the punch at attack. It’s a compact and concrete note edge at attack/decay that isn’t softened, hollow, or pillowy at all to my ears. This all carries over into the mid-bass…Mid-bass
The enjoyment I get from the mid-bass is not because I’m overjoyed by the visceral power behind the bodacious slam and boom. No sir. I enjoy this mid-bass because it comes across naturally punchy. To my ears it has the right amount of weight afforded stuff like bass guitars, kick drums and has the right kind of elasticity and ductility. What do I mean by ductility you ask? The sound is ductile, it’s malleable, flexible, it keeps a tight rein on the note outline and is almost rubbery in its ability to maneuver around complicated bass tracks. There’s some bounce to the sound. It isn’t the type that booms like a typical DD. To my ears anyways. The MagicOne’s tuning isn’t meant to rumble, but it’s the type that’s meant to replicate what a track actually is. It’s natural and organic. The resonant harmonics don’t have that long ambient decay, but they do have some lingering presence and atmosphere to them on some tracks.Got some meat to it
Take this next track, one I always use for review purposes, “Billie Jean” by Weezer (Michael Jackson cover). The song starts with booming successive kick drums which will very quickly tell you a ton about the sound of any set in the low-end. With the MagicOne I hear a very clean bass hit. The sound is hollow right after attack, with almost a slightly scaled down boom with a nicely tacky edge to it. It’s a natural sounding kick-drum. You can also hear the bounce to the kick drum. The note edge is a clean hit and isn’t caked in softness like so many sets. It doesn’t sound like a hammer blow wrapped in a sock. It sounds like a hammer. Concrete, rigid, defined, mildly resonant and unsullied. But it isn’t super boomy to please bass heads. Listening to “911” by Teddy Swims is another track that has a deep and heavy bass drop in which the MagicOne really comes alive to. It’s got some meat to it folks. It simply isn’t overly and overtly colored and isn’t super meaty.Bass guitar sounds nice as well. I feel there is enough presence in the mid-bass and plumpness to give gravelly fullness to most bass guitar tracks. Now I don’t know if it will fulfill everyone’s standards as it’s a more neutral and controlled mid-bass. “Feelin’ the Miles” by The Wilder Blue simply jams with the MagicOne. I can’t get over how authentic to life this set makes this track sound. The snares simply pang so nicely, and I can feel or hear the rebound to it. The bass guitar has some drone to it too. Is it perfect? C’mon…Nothing is perfect. But it does so much to satisfy.
Bass/Baritone
Bass singers like Avi Kaplan in “First Place I Go“. His voice is so crisp, but bodied-up. There’s a knife edge to his voice at the crest of attack when he sings. It isn’t the deepest and sonorously low-pitched sound, and a hair more warmth would’ve been more natural to me. But it’s really nice folks. His voice should pierce through everything like butter with his resonant groan. Possibly a bit restrained on the MagicOne but completely satisfying. Other deep bass singers like Josh Turner have the same exact affect. Look at the track “Would You Go with Me“. Again, his voice could use a deeper tone, but it’s so well composed and has such a nice weight to it.My thoughts
I find the bass region to be a highlight. I’m positive that there will be folks who will disagree with that statement. However, I love the natural feel to the sound. The natural depth to any track is great; it’s layered, textured, and isn’t even close to one-noted or muddy.Downsides to the Bass Region
Of course, this bass is not even close to basshead levels. That’ll be a huge con right away for many people I know. To be honest I don’t even know why any bassheads would be reading this. It’s a one-BA iem for crying out loud! This is about quality friends. Still, it has its shortcomings to a slight degree. It doesn’t get that deep pitched resonant growl that many DD sets can get. Yes, it’s natural and more organic but I do still favor Dynamic Drivers. Always will. Still, that doesn’t take away from what Aful has done. Also, extension down low is not something to write home about. Again, it still extends deeper than what I was imagining a single-BA would be able to do. The bass is well detailed and very agile with enough oomph for most any genre and is very satisfying as it makes up for its lack of beef with dexterity and good timbre.
Midrange
Oh, the midrange. I promise, this is the area that hooked me in and ultimately hasn’t let me go. I find the midrange to be sensational, in the way that it’s holographic and with fantastic musicality. It has good body and note weight across the midrange. The MagicOne has a clean and clear and fully emotional midrange. I really do enjoy what this set can do. It’s this neutral-ish sound that grabs warmth when it needs it, and it’s a region that seems “put on a pedestal” against the other frequencies between the 20’s. It’s smooth in body with silk overtones. Yet, this set can also manage to be crisp enough when a track asks it to. The mids are very lissome… graceful even. The timbre is great, like… Really Great! There’s a more organic approach (my definition of organic) and an altogether wholesome sound. But the vocals… The vocals hit me in the heart friends. Such a seductive and honeyed sound. It’s a forward, euphoric, and smoothly pronounced sound. Pardon the descriptors as I can get pretty cheesy, but I cannot help but lavish some respect to this tuning and to the midrange vocals as well. Perhaps they are the best vocals of any within the price point for me. Maybe I’m a “prisoner of the moment” but I think it ranks right up there. To this reviewer anyways. I find the midrange to be well balanced in the mix and occupies a great place in the setup for the staging. Layering is great, Imaging is spot on, and I hear a nicely detailed midrange as well.Lower-midrange
Males’ vocals come across with a nicely authoritative sound that is backed by a lean-lush note weight and comes basking in some shades of warmth. Listening to “Sand in My Boots” by Morgan Wallen is very nice with the MagicOne. His voice is not sharp like on other sets, yet it isn’t veiled like other sets too. Instead, it is kind of edgy and syrupy at the same time. There is such a nice presence. It has just enough note weight, but yet it presents some crispness on this track as well. Underlying everything is this pervasive and utterly smooth sound that permeates the whole of the midrange. I enjoy the fact that when his voice climbs in register that the MagicOne is not phased and keeps its control without turning artificial or too edged in grain. The MagicOne stays clean, transparent and refined.I could also point to Zach Bryan in “I Remember Everything“. His voice is raspy, breathy at times, even bold too. Zach is all emotions as the MagicOne props up his voice without going overboard and doesn’t lose any of the emotions. The instruments surrounding him are clean and separated with easily discernible layers. I find his voice to come across really nice.
Upper-Midrange
Females with the MagicOne “generally” hang around the upper-mids. Females are forward in presence with a neutral vibrance, they’re also sweet and prominent. They’re everything from softly subtle, velvet and sweet, to resounding and ballad raising, and yet, I never hear them lose control. Never peaky, never glaring, never sibilant and not harsh. Caitlyn Smith in “High” is a perfect example of this as her voice actually does go from softly velvet and sweet in the song’s buildup to powerful in her inflections during the chorus. Her voice is natural in its tone & timbre with the MagicOne while staying resolute and transparent with crystalline note definition. I feel the slight warmth against the neutrality and vibrance of the upper midrange causes a very lifelike sound. Depending on the recording of course. However, I feel the MagicOne simply comes across how “Organic” should be. The only thing missing is a slightly longer decay on some instruments, but I am utterly impressed by what Aful is offering at $139.More females
Another track is “More Hearts Than Mine” by Ingrid Andress. She has a voice that goes from slightly raspy, to soft and edgy, to epic and ballad-like. What I love about the MagicOne is how it doesn’t double down on the sharp edge to her voice and sound even more digital or metallic. The MagicOne keeps its composure folks. This single BA is very well able to render her voice forward, clean and separated while not sounding papery and dry. At the same time this single BA is able to render instruments like the muted drums, the strumming guitar, or even the slight tambourine at the back end of each beat very well on this track. I enjoy that they all sound distinct and still fun and musical. Please understand, there are plenty of other sets which can do such a thing. For the most part, I say all of this because I’m blown away, and I’ll keep harping the fact that the MagicOne is a single BA. However, I go further with it because not only does this single BA do it all… It also sounds better than most other sets too. If you were me that is. I think many would agree with me.Instruments
I love piano while listening with the MagicOne as there is this smooth and tuneful sound from a piano key with great resulting harmonics. It sounds pitch-perfect to me. This is a $139 set folks! Acoustic guitar has that sharpness on attack and has enough good bite as well with nice details shining through. Guitars in general can have that tangy and textured sound which is realistic and enjoyable. In fact, all strings seem to sound good depending on the track. Percussion isn’t too softened or attenuated but instead has an energetic snap, pang, chisk, and pap, emphasized by the upper portions of the frequency with sprightliness and charm. Violin is so melodic on many tracks with a good body and what I would call an unalloyed and genuine sound. I won’t go down a long list of instruments giving you simple and broad descriptions though. Just know, most instruments sound close to correct and have nice energy. I haven’t heard anything that disproves this.Downsides to the Midrange
If I were to collect some issues with this midrange and lay them on a platter, I would have a close to empty platter folks. I mean, possibly those who want a drier and more detailed, analytical and nimble midrange would maybe not prefer what the MagicOne can do. Also, maybe, ultra warm and dark lovers may feel the tone & timbre doesn’t work for them. Eh, who am I kidding, this midrange is wonderful folks. It really is. The forward vocals are so enticing and there is such great depth to every element of the stage. There is an all-encompassing and engaging quality to the sound with the perfect emphasis of vocals in the sound field while at the same time coming across organic, manicured, and distinct. It’s just nice!
Treble Region
When thinking of the highs on the MagicOne I think of it like a natural glide through the upper regions. Naturally progressing and naturally extending. You won’t hear any undue and forced over saturation or forced resolution up top. However, the treble still remains relatively airy, without being “airy” per se. Does that ridiculous statement that I just made make any sense to you? Well, It does to me. The treble is one that strays from any ear-piercing fatigue or shout and issues its treble with just the right amount of brilliance, to sound balanced with the rest of the mix. Surely, it’s enough to lift up female vocals, percussion, etc. and basically lift up the whole of the mix for that matter. There’s a good level of detail retrieval that I find fairly easy to pick up on without much issue. Especially for a single BA set. The treble is pretty nuanced, finely tuned and has a penchant for transparency. It’s a good supporting actor. A good part to a great whole.It’s smooth up top
However, the best quality of the treble in my opinion is its smoothness. No artificial jagged edges (for the most part), no real grain, no obvious sibilance, no odd peaks, no weird timbre moments. It’s not metallic or splashy either. It’s a smooth, glass lined, “ride the wave” type of softer treble, without the coarseness that so many upper regions have these days. I say all that, but I will also state that the MagicOne still has a small amount of bite. A lil pepper on the steak. There’s also some shimmer and shine helping to accentuate by adding some ebullient buoyancy to my music, and simply makes the MagicOne more engaging and even… fun. However, it’s like I’ve tried to get across, nothing is so one sided or over saturated that the balance tilts off-kilter. Everything fits! And the same is true up top… this treble simply fits!Listening to the Old Crow Medicine Show track, “Keel Over and Die” there is an onslaught of breakneck speed treble activity. There’s a bunch of guitars, ukulele, mandolin, and piano all mishmashed to form a melody. Folks, the MagicOne has absolutely no issues keeping up. This group is praised for their instrumentation and many of their tracks follow this same style. Truly the MagicOne creates space while making distinct, definite, compartmentalized separation between the instruments in this track. Now, certainly I have sets that can perform this better. However, those sets also aren’t the most smooth and musical either. The MagicOne is a nice blend of both attributes in my humble opinion.
Downsides to the treble region
I could see treble heads or those who really enjoy good treble not liking the emphasis that Aful has tuned this set with. The MagicOne is not the airiest sounding, and you don’t have that blatant openness of some iems. Also, details are good (especially for a single BA) but the MagicOne is not a detail monster. I feel the MagicOne’s treble is “smooth & musical over crisp & technical” and so those who enjoy a drier performance may not be a fan. I could also say that extension into the highest of highs isn’t the best I’ve heard. However, at the end of the day it is very hard for me to complain about any one frequency, let alone a very nice treble region. Friends, this set has no sibilance, none. Yet it has some brilliance to it. There’s no peaky areas of shout and treble sheen either. I hear a smooth treble that seeks not to offend and suits the rest of the mix and the overall balance beautifully.
Technicalities
Soundstage
The stage size is an area that gave me a good surprise. I really wasn’t expecting such a technically savvy soundstage. It isn’t just the grandeur of the stage size. It’s also the layering, depth of field, and the realistic experience the MagicOne affords the listener. I find width to be above average, it’s outside my ears and stretches the psycho-acoustic stage. The crazy part is I don’t hear super amazing extensions either way in the frequency. I mean there is decent extension but nothing super deep down low or super airy up top. It still fills the soundscape very well. This stage is one of those that relies on the fullness and macro-dynamic swelling of the stage. The mids are closer to the listener but the sound field stretches out wide. It’s a fuller stage. Not at all congested or cramped. The height is fantastic and so is the depth I’m hearing which gives way to great layering of sounds. Did I mention this is a single BA?Separation / Imaging
I can quite easily hear very distinct and separated instruments and vocalists. Honestly, I am very impressed by the MagicOne’s ability to parse out space to each element of the stage. There is a caveat though; on ridiculously congested tracks with a million instruments fighting for prominence, things may slightly mash together. Or in really poorly recorded tracks. Of course, those tracks will likely sound horrible on most any set so, really this is not much of a caveat. For the most part the MagicOne impresses. The same goes for the tremendous imaging capabilities of the MagicOne. It is so easy to place every instrument in my mind space whether it be left to right or even forward and backward.Detail Retrieval
Another surprise is the nice detail retrieval that the MagicOne has. It is much better than I would have thought. That said, folks, I don’t want to lead you astray, the detail retrieval is good, especially for what the MagicOne is, but it isn’t a detail monster. No doubt it is very good and I’m missing nothing in my music. Still, the MagicOne is not a dry, thin, and analytical style earphone that’s built for detail retrieval and analytical listening. Listen, this set is a warmer, a slightly lusher earphone and as good as it is… it works off of one BA. So, expectations!It’s good though…
I just wanted to say that so that I can say this… the MagicOne is absolutely bonkers good in this department… for what it is. I would think the MagicOne would struggle in the details arena. The sound is tinted warm and it’s smooth, but also resolute and transparent. Friends, I’m really not missing anything as far as details are concerned. Is there better out there in the Audioverse? Yes, there is. But how much better? And also, what are those sets lacking that the MagicOne doesn’t lack? It’s still very musical folks! It’s melodious to the core! Each area of the spectrum is represented well. You have all this and still have a refined sound and good details. C’mon friends! As far as what type of details; you’ll hear great secondary harmonics, even for a BA. You’ll hear the finger slides, the plucks, the breath in mics, the cough from the drummer in your favorite live track. You’ll hear the little nuances in your music. So long as the track isn’t ultra-crazy congested that is. Everything has a caveat or two. This is a special set.
Comparisons
Note: I will keep these comparisons brief folks. Basically, I will give a very quick take on some differences and that’s about it. I am already running long in this review. However, these comparisons are not meant to crown one set over the other. These are meant to highlight differences so that you may get a better understanding of the iem I’m reviewing. I’ll speak in general terms and won’t go too deep into them. Letshuoer X-Gizaudio Galileo ($109)
What a nicely done iem the Galileo is. The Galileo is actually a collaboration with Letshuoer and Gizaudio and more pointedly “Timmy Vangtan” of Gizaudio. This set is a Hybrid 1+1 DD & BA iem with a 10mm Liquid Silicone Dynamic Driver and a Sonion Balanced Armature. Truly a fantastic set at its price. Built decently but absolutely gorgeous shells & faceplates. I would’ve loved to review it but it simply didn’t pan out and so I use the Galileo for many comparisons in the price point. This one seemed to make sense to me. Just a wonderfully neutral sound that is pleasant across the board and also has a smoother replay. Every area of the mix is accounted for.
Differences
The differences begin with the build quality. The MagicOne is much better built with more sturdy resin, it just feels more durable. Both sets look really striking and are very artsy in their design language. Design is a draw for me, but I’d have to give the edge to the Aful MagicOne because it is just a bit more creative and unique. As far as accessories, the MagicOne is more premium as far as the cable, case, tips are concerned. The MagicOne certainly feels more upscale, and I say that not to take anything away from the Galileo. The Galileo is a little bit larger and the MagicOne is probably the better fit generally but neither set is a drawback in this area. The Galileo is around $109 depending on if they are having a sale or not. I’ve seen it as low as $87. The MagicOne is almost $140 and so there is a price difference to take into account.
Sound Differences
Now to the sound and the reason I chose the Galileo to compare. I compared because both of these sets have prominent and focused vocal ranges that come off very nice. The Galileo is a bit closer to neutral and a pinch brighter whereas the MagicOne has that warmth with a spritz of neutrality. Transient attack & decay are tidier on the MagicOne with a better technical display almost across the board. Note weight is a bit lusher on the MagicOne and note definition sounds a pinch more resolute. Between the two the MagicOne is definitely harder to drive, and in my opinion requires much more output from your source. So, there’s that. Something to consider.Bass Region
The bass region on the Galileo provides more thump and slam, especially in the mid-bass. The sub-bass also shows more rumble and deep pitched growl on the Galileo too. However, I find the MagicOne certainly has a cleaner, more precise, nimbler low-end while still owning enough low-end oomph. The MagicOne’s bass has better textures and details. The Galileo is not really emphasized all that much more; it’s simply the difference in driver configuration.Midrange
Both sets involved have a more forward sounding midrange. Beginning in the low-mids, the MagicOne has just a hair less body to notes while the Galileo has more spill over from the low-end into the midrange giving slightly warmer vocals for males. Still, the MagicOne has this speckless delivery that still has nice weight and fullness but also it sounds cleaner here. Females are more shimmery on the Galileo as well as a touch brighter. The MagicOne on the other hand is very enriched in this region with forward females that sound slightly less uplifted but smoother and butterier with better detail retrieval.Treble Region
These two both have very similar treble responses. They really do. However, I still find the Galileo has less in note weight and doesn’t have the MagicOne’s tangible treble punch and contoured control. Now, the Galileo does have an airier and leaner treble region to the MagicOne’s more musical treble. I find the MagicOne to better illuminate details up top and with better note density.Technicalities
The stage size is very similar in the width and height department, but the MagicOne has much better depth and a more holographic sounding stage. For the most part anyways. Imaging is also good on both sets, but the MagicOne simply do so in a more precise and definitive way. Separation too. The MagicOne is truly a special iem and it’s in these areas that it shines next to a great set in the Galileo. Detail retrieval is simply better on the MagicOne. Perhaps in less complicated tracks both sets run parallel but once things get a bit more congested the MagicOne will step out in front.My thoughts
Folks, I truly adore the Galileo and feel it is a fantastic iem at the price it’s being sold for. However, for me, I cannot get over the 3d richness of the MagicOne and those creamy yet precise vocals. The Galileo is nice, with its nicely tight and textured bass region, silky mids and airy treble (to a degree). However, the MagicOne is simply that “Unicorn” wonder of an iem that I’ve grown to adore. I think these are both two titans at the price, but the only one that should cost more is… the MagicOne. Still, at the end of the day of these two are sitting in front of you and your wallet you’ll have to decide if you want fantastic vocals with a bit more energy and an airier presentation or a rich, more detailed, precise, and more musical sound. It’s a question of preference folks and I love them both.
Tanchjim Hana 21′ ($169)
This is one set that somehow went under almost all radars. I mean, it had its moment of fanfare but that quickly fell off and what was left was one of the best Harman tuned sets under $200. Also, it still sits pretty at this price. Just a wonderfully musical iem folks. The Hana 21 uses an LCP single Dynamic Driver with absolutely beautiful stainless-steel shells that look more like jewelry than they do earphones. I still stare at this set, and I’ve had them forever. The baby sibling to the Tanchjim Oxygen is darn near on the same scale as the Oxygen for over half the price and would be a steal for anyone who could find it for cheaper than MSRP.
Differences
The first glaring difference is the build. The Hana is made entirely of stainless steel while the MagicOne is all resin. Both well built. The Hana is a gorgeous gold color with one of the best contrasting colors I’ve ever seen. It has very nice white faceplates with their logo on one and the name Hana on the other. The MagicOne is also simply gorgeous too. Both are designed in a premium way. The Hana is much smaller and is great for those with smaller ears whereas the MagicOne isn’t exactly huge but there’s more real estate there. I find the Hana accessorized a bit more luxurious, but the MagicOne has the better cable, like… a lot better. Obviously, the Hana will require a few more dollars to own but both are well worth the price tag.
Sound Differences
To start, the Hana has a slightly warmer sound, especially down low, coming across leaner up top with a very nice Harman signature that toes that Harman line almost perfectly. The MagicOne has better resolution and tighter transients with a more clinical sound that produces a higher level of detail retrieval and honestly better technicalities throughout. The Hana is much easier to drive and better for lower powered sources.Bass Region
The Hana has a much deeper and more guttural sub-bass which sounds more weighted and truer. Yes, it’s more emphasized, but it’s also less astute, precise, separated, and the Hana is less equipped to tackle quicker bass passages. Don’t get me wrong, the Hana’s bass can rumble very well and sounds very nice within the mix. So, if you are after a little bit more authentic boom and organically textured bass than the Hana will be the one to go with. The Hana cannot replicate the bass speed and technical chops of the MagicOne though. The MagicOne seems to take anything you throw at it with a smile, like a good BA Bass. While the softer and weightier Hana has the more atmospheric DD type bass.Midrange
Starting off with the Hana. It sounds more recessed for male vocals with a more subdued note definition. The MagicOne sounds more contoured, more crystalline and just as weighty in note body. I feel both sets have very nice male vocals but for my money I’d take the MagicOne folks. Females sound thinner in the Harman tuned Hana with a bit more emphasized upper-mids and less wetted than the lusher MagicOne. The MagicOne has no chance of shout or glare whereas the Hana can get a bit hot on the right tracks. All in all, I think this is another preference thing. The Hana has a bit more air to the sound whereas the MagicOne prefers a more controlled but also richer environment. I hate comparing sets I love and no doubt my words can be skewed by prisoner of the moment listening. However, I just find the MagicOne far too “Magical” and I would go with it any day of the week for straight up vocal sessions.Treble Region
Both sets offer a nice treble replay, but the Hana is a bit sharper at note peaks, yet not to the point of shout or sibilance. Just a bit crisper. It’s also less bodied, slightly more open sounding, but less punchy. The Hana has a bit more bite while the MagicOne is better separated and has better detail retrieval. I find extension is a bit better on the Hana up top too. Despite this, the MagicOne has a more realistic note structure and better cadence. It handles the more complicated stuff better and does so with a fuller sound.Technicalities
When looking at the stage of both sets, I hear nothing that jumps out at me as bad. Both have great stage sizes. Both are wide, though the MagicOne has more macro-dynamic expressive ess which sounds fuller and fills the sound scape better. Also, the MagicOne certainly has a more 3D presentation with better depth. Both sets are good for spot in imaging and both sets offer good separation of elements within a stage. Detail retrieval goes to the MagicOne between the two.My thoughts
What can I say folks, I once again love both of these iems. Both offer up a different sound signature for my music. The audio game is one of hairline differences but these two are different enough from each other to warrant a preference battle. They actually contrast each other very well. Honestly, I do think more people would enjoy the Hana 21′ more. I would think. The MagicOne is more of a niche earphone while the Hana toes that Harman line like I said earlier. The Hana stays true to a sound that works while the MagicOne is simply “engaging” to the fullest extent of that word’s meaning. Both are fine sets for any collection folks.
Is it worth the asking price?
lways the most important question to ask is if a product is even worth what the company is asking. I don’t even want to dignify this question with a response because my word, yes, the MagicOne is worth the asking price. Heck, I’m wondering how it doesn’t cost more. Folks, this set will very likely not be like any other that you have in your collection. This is such a unique set in so many ways. Now, I’m not 100% sure that everyone will love the sound. This will not be for everyone, though I feel everyone should have at least some time alone with it trying to figure that out. It’s a set everyone should at least try, if the opportunity arises. It’s a set to chill with and just… soak in. I told you all that I went on a slight roller coaster getting to know the MagicOne and I’m quite positive that there will be others that endure the same progressive roller coaster ride that I did. There is no way this set isn’t worth the $139 asking price.The Why
To begin, this is a single BA set that is very rare and a huge gamble on the part of Aful. You have to be overly confident that this setup will pay off. People see “single BA” and run for the hills. However, I think their marketing paid off. Like a dangling fruit in front of the hobby masses. The lone full frequency BA housed within the acoustic cavity is truly wonderful. Also, this set is built extremely well with a beautiful design that’s also rather unique as well. It has nice accessories with a good unboxing (to some that means something). It’s all about the sound though friends. This sound is so engulfing, musical, technical, clean, and rich with a holographic display of the stage which adds such a nice realistic flare to my library of music. The reason why the MagicOne is worth the $139 is because it is simply one of the best sets within the price point.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Aful MagicOne ratings below, that would be $100-$150 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $100-$150 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.3 Built very well.-Look: 9.3 This set looks dope!
-Accessories: 9.4 It’s hard to beat these accessories at this price
–Overall: 9.3
Sound Rating
-Timbre: 9.1 The timbre and tonality are very good.-Bass: 9.0 Mature bass that is quality over quantity.
-Midrange: 9.9 The mids are exceptionally good on this set.
-Treble: 9.2 The treble has good body & has great control
-Technicalities: 9.4 Overall, technicalities are very well done.
–Overall: 9.4
Ratings Summary:
Okay, some of these ratings will be a hard sell to some folks. I guess. Anywhoo, I gave the MagicOne a “9.0” in “Bass”, which honestly… could go either way. It’s a mature, clean, and controlled low-end, with just enough oomph down low to not feel as though I’m missing all that much. It’s a “quality over quantity” bass for me. Others may wholly disagree, and I’d get it. Bass is a black or white subject most of the time. Either good or… Not. I am a little more nuanced in my appreciation for different tunings but, I’m not you.Timbre is another area that I could get some flack. However, I simply find the timbre to be organically tuneful with all the intangibles that help the overall sound to come across relatively naturally and altogether sublime to my ears. I really feel a lofty “9.1” is warranted, but I could see some folks either adding some points or subtracting some too.
The last questionable rating is the “Treble”. You’d think that a “9.2” in this area would make this set a treble heads paradise. Ya, I don’t think it’s that. I do think it’s such a well rendered and more physical treble keeping a good balance with the rest of the mix. It also does everything it does so very well. It isn’t the most energized treble but it’s concise, has good note body, and has nice physical feedback while not skimping on the finer stuff (details).
Conclusion
To conclude my full review of the Aful MagicOne I want to thank the good people of HiFiGo for providing the MagicOne in exchange for a full review. I must say that I received no compensation and was not asked to skew my words in any way. I simply want transparency with you all. So, thank you HiFiGo! I also want to thank you, the reader for taking the time to read any words that I write, and my hope is that it helps you with a purchasing decision.Please take in some other thoughts about the MagicOne as we all have different ideas about what “Good” or “Bad” is. We are all different, each and every one of us and so it makes complete sense that you don’t simply read my words and hit the “buy now” button. Check out other perspectives. It’ll help you to make an educated decision. What I think is great I can promise there will be folks who think I’m nuts and don’t think that same thing is great. Turns out we are all unique and wonderfully made. With that, please take good care and stay as safe as you can my friends, and always God Bless!
GoneToPlaid
I generally agree with everything which you said in your review. I find that the MagicOne adds a somewhat ethereal quality to music since the overall sound signature is inviting and engaging yet relaxing at the same time. I also agree that the Hana 2021 or V2 is an IEM which did glide under the radar.
Ceeluh7
@GoneToPlaid thank you for that. It's nice hearing some others reflect the same thoughts as you. Ya the MagicOne is such a polarizing set and so many feel strongly either one way or the other and writing a review about it is going to be met with some push back no matter what. So, it's nice that you were kind enough to message that. I appreciate it. I've had a few people message me telling me that I'm nuts when they haven't even listened to the MagicOne. No joke. Also, yes the Hana 21 is a set which I would've thought would get more attraction from the masses. Thanks again
Rose Technics QuietSea Review
Rose Technics QuietSea
Intro
Hello everyone, today I am reviewing a collaboration iem between Ikki Audio and Rose Technics called the Rose Technics QuietSea (RQS as I’ll call it for review purposes). When I was asked to review this set, I jumped at it because both of these companies have my respect and admiration. Collaboration iems are good for the hobby in my opinion as they usually offer a bit more intrigue and anticipation. Especially when the collaboration is between two normally competing brands. This collaboration features two very intelligent and crafty people, the acoustic engineer of Rose Technics Mr. Xie and ex-Toky Audio Mr. GaoQiao. Two big players for these two brands for a union to create something that is very well developed.I’ve enjoyed both of these brands and the sets that they’ve brought to the public. I actually reviewed the Rose Technics QT-9 Mk2s (Review HERE) over a year ago and still regard it as one of the better hybrid iems in the price point. Both brands have brought to market some very well constructed and well-tuned iems. One of the legend sets in Ikko’s catalog is the Ikko OH10 which still is revered in the community. I could go on and on about the past achievements here, but I’d much rather take a good long look at the iem in front of me. Also, that’s why you are here.
Roller Coaster ride to good
I have purposefully taken a bit longer to critically listen to this set as I have gone through almost a “roller coaster” of thoughts about it. So, I held off on my initial impressions to let the QuietSea burn-in and let the drivers settle a bit. I’ve gone from “Wow this set will be one of the best” to “That didn’t sound good” to “I am impressed!” and it has gone on like that for at least three weeks of my time with it. Thankfully, I’ve had enough time to determine that the QuietSea is certainly a nice set that will actually fare well against the mountain of solid options in the price point. With that said, let’s take a close look at the Rose Technics QuietSea…Wait…before I jump into this review, I want to thank HiFiGo for providing the QuietSea in exchange for a full review and feature at Mobileaudiophile.com. HiFiGo has been a place I’ve used for a very long time to find iems and audio devices that other stores simply don’t have. So, thank you to the great people who have helped me out and arranged the QuietSea for review! Without question this will not affect my review in any way which forces my words to be skewed. Of course, I am very thankful and will always remain respectful to any company willing to provide a review sample, but I promise to give you… the buyer, my actual thoughts in hopes that they help you in a beneficial way.
Non-affiliated, non-compensated purchase links:
Purchase Link at HiFiGo
Purchase Link at Amazon
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro Plus
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Full Review also here: QuietSea Review
Packaging / Accessories
The Rose Technics QuietSea (RQS) comes in a decently large sized black box and the first thing you notice is the QuietSea earphones looking all dapper. Next to the earphones is the carrying case. Inside the case is the cable and tips as well as an mmcx tool. The unboxing is nice enough, surely nothing that will blow your mind but a nice package. Certainly, good for the price. However, it isn’t the number of accessories but the quality of the accessories that I enjoy. 
Carrying Case
The case provided with the RQS is a small and slightly thin square case that opens with a zipper. The case is all fabric and provides enough room to store your earphones and cable. The size isn’t enormous but big enough to slip in a pocket and still be relatively comfortable. Again, it’s the quality that counts here. What a nice addition that Rose Technics & Ikko provide. The case is something you’d see at a higher price, I would think. Of course, I have zero ideas how much a case like these costs to add to the packaging. Anyways, it’s quality and I’m down with quality. It says a ton about what you as an audio brand value in your craft. You know that we like nice things and so you add nice things. Or at least as good as you can for the money.
Eartips
The eartips provided with the RQS go against the glory I just bestowed upon the makers of this set. They only provide three sets of tips (S, M, L), but they are decent tips in my opinion. Now, I don’t think they were the best tips for me personally. Instead, I went with the KBear 07 tips. Still, they are a white, oval-shaped to fit the oval nozzle, semi-narrow bore, firm flange tip that would likely be great for this set, that’s if I could get a good seal. I had to go with the KBear 07 tips just for this purpose. Anyone that knows me will know that if it doesn’t fit… KBear 07. I also used the Dunu S&S tips and Final Audio E-tips as both of those also helped me with Fitment. I would’ve loved to see a selection of different tips, but the quality of the line set is good so… they get a pass.
Cable
Now, this is where the first real surprise came. Folks, this cable is flat out awesome. I don’t know if it’s just me and my love for fat cables and awesome aesthetics, but the look of the cable is bonkers cool! The color match is perfect. The cable is a mmcx 3.5 single ended, four strand, 5N OCC beauty of a cable that always stays in control and looks flat out fly when hanging from your ears. I found no reason to swap cables for any 3.5 single ended use as it looks nice and sounds nice. This is huge because so often any set under $50 is almost a guarantee that the cable will need swapped out.
Balanced listening
The only time I did use a different cable was for any balanced sources. When I did listen on balanced, which was most of the time, I went with the Tripowin Noire modular gray cable. Again, the aesthetic is pleasing as the colors match and the sound is great together.
Build / Design / Internals / Fit
Build Quality
The build of the RQS is built very well. Obviously very durable. You will understand that the second you put this set in your hands. It’s obvious. Built mostly out of a Zinc Alloy by way of 5-axis CNC machining as well as what appears to be resin. The build is very small, compact, and great for smaller ears. The Zinc Alloy is great for just putting this set in your pocket and not having to worry about scratching or breaking. The build is 100% solid from the nozzle to the mmcx connectors. Speaking of mmcx connectors; Rose Technics states that the QuietSea can be plugged and unplugged many more times than most due to the high-quality gold playing on the mmcx female chassis. Just sayin’, it’s nice to not have to always worry about mmcx connection failures. I will always be partial to 2-pin on budget sets. That thought flips with more expensive iems.One other thing about the build which kind of crosses over into the fit is that the nozzles aren’t the longest. The nozzles are closer to a shallow nozzle than anything and so finding the right tips is a necessity. I do like the nozzle tip has a ridge for holding on those tips and the nozzle diameter is not very wide so these should fit most anyone’s ears while finding 3rd party tips should be a breeze. Also, the nozzles themselves are oval shaped which I’m sure helps in some way with the sound output. I should also quickly comment on the weight, as the RQS are actually fairly light even with their durable and dense construction.
Design
The RQS shares some great design ideas of other Ikki Audio iems like the Ikko Opal OH2 and the Ikko Asgard OH5 in that we have the Zinc Alloy with the resin contrasting strip along the sides of the Shell body. The design is flat out sweet looking. It’s hard to appreciate a good design when you’ve seen that design before, but I love the look. Couple that with the great feel when in hand and you got yourself a winner. Rose Technics decided upon two colorways for the RQS in “silver” & “Gray”. Mine obviously is the silver version. The design is very modern looking, newfangled, and contemporary sleek and slick. Very Star Trek of them. I think they are great and for the price that Rose Technics & Ikko are asking I think this is beginning to look like a steal folks.
Internals
Housed within the acoustic structure is a gold-plated brass dual-cavity Dynamic Driver. This driver is stated to have a Self-Developed Topology Diaphragm which through the deposition or the pattern in which Nano particle coating distributes & manipulates sound optimizes the micro-topology compared to a traditional moving coil diaphragm. Topology Diaphragms have been used before. Most notably (to myself) in Hifiman products. It’s a very cool technique and technology which uses certain different geometric patterns on the surface of the diaphragm to achieve the desired sound result. Also, Rose Technics & Ikko used a 3rd gen rare earth magnet material within the RQS to achieve up to 1.5 tesla for better and easier driving. I haven’t learned the size of the DD but will update when I get that info. Basically, what’s housed inside the RQS is a quality driver with an innovative design.
Fit / Isolation
As far as fit and isolation is concerned, the RQS fit me, well, okay. So long as I use KBear 07 tips or, shallow fit wide-bore tip or a long and very firm tip like the Final Audio E-tips. I stuck with the KBear 07 tips simply because I believe the semi-wide bore does help in the punchiness of the bass as well as the upper midrange comes through a bit more resolute. Isolation for me is also okay. Certainly not for use on a stage the RQS are great for just chilling and listening with me. Now, I have no idea how well this set will fit you but I’m sure you can find suitable tips to make it work.
Drivability
Mobile listening
The Rose Technics QuietSea is rated at a 32ohm impedance and a sensitivity of 99dbs. Honestly, I really don’t think you’ll have any trouble driving this set. Yes, the sensitivity is only 99 db’s but I found the RQS gave me no issues driving with any device I used. Even the iPad could handle this set. Now, to get the most out of the RQS you will need to up the dose of power just a little to get to proper dynamics and openness. Using something like the IFi Go Blu was a breeze whether on 3.5 or 4.4. I also love the synergy of this mobile setup with the Go Blu’s (CS43131 dac chip) slightly more velvet sound. The Moondrop Dawn 4.4 sounded great too. However, of my dongles that I used the Hidizs S9 Pro Plus (ES9038Q2M dac chip) sounded by far the best. These two just sing together folks. Something with how that silky resolution of the S9 Pro Plus played off the more warm/neutral tonality of the RQS. It’s a nice pairing for sure.
Daps
Listening with the Shanling M6 Ultra is simply a treat with the Rose Technics QuietSea attached to it. I loved the warmer atmosphere of the M6 Ultra tuning against the more neutral sounding RQS. The pair just worked. I found no need to go over low gain, though at times I’ll jack it up to medium. Certainly not needed. This is a pairing which seems to play off each other’s strengths to a degree. I did find that the QuietSea does scale to a certain point with more power, but it isn’t something that is a huge difference. I much more assume that the RQS is simply scaling to the auditory ability of the source. Not really a power issue.In the end
At the end of the day, just hook these up to a decently powered dongle-dac or even hook it up to your phone and I think you’d have a great listening session. The RQS really doesn’t demand much and seems to reach good dynamics even with lower powered source devices. Just plug ’em in and have a ball.
Sound Impressions
The Rose Technics QuietSea is one which took me on sort of a roller coaster ride and I’m not quite sure why. I loved them, and then I didn’t love them, and I did that routine for a couple days, okay for a week or two actually. I think since I was coming off of a warmer set that I had gotten used to at the time that my brain needed some adjustment. Who knows? Also, I usually cleanse my auditory palette with a flat or balanced sounding set like the Hisenior Mega5p. I didn’t do that. So maybe it was a bit of a shock. However, once I finally let the RQS sync in a little bit I began to really see just what Rose Technics & Ikko had accomplished with this budget category iem. So many very good qualities to the sound and a few subjective qualms or issues but nothing so egregious that I wouldn’t put the RQS in the running for top five under $50. It’s. A good set folks. Is it for everyone? No, it isn’t, this I’m sure. Is it going to be a set that many would enjoy? Abso’freakin’lutley! Between the 20’s (pint sized)
I won’t beat around the bush folks, the Rose Technics QuietSea is truly a very nice sounding set. Without question. The RQS comes across more neutral than anything else with shades of warmth. There’s even a spritz of brightness which makes its way to my eardrums. The RQS comes across U-shaped to my ears with a nice balance across the mix. It’s crisp over smooth, glass-lined but not metallic. The sound is lean-lush, but more lean than lush with good density in its note body. For the most part. Perhaps the sound leans a bit toward the top end, but no one frequency really stands tall against any other. What we have is a quicker transient response, like fast-twitch muscle fiber that’s nimble and dexterous. It’s a resolute sound with clean lines, a black background, contoured note structure and good note definition. It may get a bit too bright at times, but those instances are few & far in between. I will say this, one thing I’ve learned, if you are going from a warm sound signature and jumping straight to this set… Just give it a bit before you judge.Each 3rd of the mix
The low end carries a bit more warmth and a solid quick-punch-density that doesn’t lack at all for quality. Truly, I think the caliber of this bass is very nice if you are into a low-end which can keep up with most any track and still have some fun with it.Now, this is not some ultra bassy set with head bangin’ fun in your future. No sir! Still, it’s a nice bass response. Not perfectly suited for EDM, or even gangster rap & hip hop if what you enjoy is warm and authoritative slam. Not that the RQS can’t sound good with those genres, just maybe not the typical preference. Again, there’s a clean and dense punch, but it’s not robust & booming. The midrange is forward, vocals are presented very well, and instruments aren’t left behind. Maybe the sound is a hint artificial and a bit too colored towards the top end of the mids, but I think it makes for a very clean and resolute sound. The treble has good emphasis and renders nice details in the mix with a vibrant display at the top end of the spectrum. Detail retrieval is nice, separation & Imaging are both great for a set at this price and the soundstage is actually of nice size. There are some issues present and I will allude to those in the coming sections of this review, mostly in the “downsides” portion.
Bass Region
Sub-bass
The sub-bass comes across moderately thick and deep with enough oomph and low-pitched growl to give some added haptic feel to my music. Without question this sub-bass will not shake the hairs on your head but it will show up when it’s called upon to do so. Now extension won’t blow your mind either and I don’t want you to get the wrong impression but there’s something to be said of a set that can rise to the occasion.“Paradigm” by The Head and Heart is a track which begins with a straight up vibrational reverberant bassline buzz. Basically, it’s a good track to listen for sub-bass meatiness. The RQS does not dissatisfy me at all! I’m telling you; this set will show up when absolutely necessary. Meaning, when brazenly bassy songs are playing the RQS will reciprocate with a response that is more than adequate, though not bulbous and ground rattling. Another track is “Heavy Is the Ocean” by Bush. Again, there is so much deep rumbling in this song and again, the RQS can reach relatively deep yet still stays well in control. It isn’t even close to sloppy. In fact, sloppy is a curse word to this set.
Mid-bass
The mid-bass holds the keys to the low-end with the most amount of emphasis, at least that’s what I think I’m hearing. It isn’t clear cut either. There is a nice balance in the bass region between the sub & mid-bass. The mid-bass is clean, textured, detailed, and not even hinting at being one-noted. This all sounds amazing, but many folks will likely want more beef here. However, I’m happy with the output. Of course, I don’t need the thickest bass drop all the time. So long as that bass drop has some density and is reasonably energetic. Take the track “2040” by Lil Baby & Lil Durk. Again, another track which starts out the gate with some boom and slam. Thankfully the RQS also booms and slams, pretty well actually. So, it has enough to show off when needed.I do detect some spill over into the midrange as the mid-bass more-less adds some organic color to the low-mids but not to the point that there is any muddiness. It’s quite the contrary. I actually feel the bass region does a good service with much needed warmth to slightly bolster that region. For stuff like bass guitars, I think I could use a bit more of that slower decaying fullness, only slightly more. Not that I’m missing much because there’s still plenty of grit and growl down low to accentuate most bass guitar tracks.
Not bad at all
Kick drums such as those in “Billie Jean” by Weezer (Michael Jackson cover). The kick drums sound fast but they are still realistic enough to bring that hollow boom and I definitely hear a tacky note edge on attack. It sounds nice enough. Bass singers are maybe a bit too elated sounding, not as resonant as some sets. Listen to any Avi Kaplan track. Not that it sounds audaciously unrealistic or anything but just hair more beefy depth would’ve served bass voices well.Downsides to the Bass Region
Most certainly there will be those who want more low-end emphasis. I’m not even talking about bassheads. Even those folks who are borderline Bass-Bois will likely want just a titch more gristle down low. I find the bass awesome… but that’s me, and I ain’t you. The bass isn’t the most atmospheric that I’ve ever heard either. Who ever said that faster transients are always a good thing? They are nice for complicated bass tracks but not always exactly what we want for a realistic and organic sounding bass region. So yes, there are downsides, but I think this is a preference thing. For what the RQS is, it’s great. I can appreciate it wholeheartedly and I think the folks at Rose Technics & Ikko did a great job. Again, I’m not everyone else. So, if this doesn’t sound like something you’d like, I understand if you stop reading now.
Midrange
The midrange is very well placed in the mix in my opinion. It isn’t really recessed or in the background, but it also isn’t too far forward, to where it’s problematic. There’s a good distance there for me. The midrange as a whole is articulate sounding, above average details and comes with good resolution. The midrange has some crisp tendencies and does so on some contoured and at least “mildly dense” note body. It isn’t all crisp and knife edged though. There are some smooth undertones. As anything, a lot has to do with the track you are listening to. Lower-midrange
Male vocals primarily hang around the lower-mids but that is certainly not always the case. However, in this review I’m looking to the lower-mids to cover male vocals. Like I said earlier, the bass does feather into the midrange. Not to a detriment but more so it helps this area. There’s some added warmth which comes across as a slightly richer note body and needed weight. Lean-lush is what makes the most sense to me. Without it I’m afraid the midrange would be a bit too artificial and one-sided. There’s a good mix. The sound is clean and form-fitting enough to help males sound compacted and rigid. Males sound adequately authoritative when needed and pretty darn clean if you ask me.“You Are the Reason” by Calum Scott is very clean sounding with this set to my ears. His voice is almost “up on a pedestal” and there’s some depth of field there to his voice as well. Nicely melodic and with nice energy too. Or “Jake’s Piano” by Zach Bryan which is another track that sounds very good. The RQS takes the inflection of a stout (yet wholesome) southern voice and sounds edgy and prominent in the mix. He sounds as eloquent as a southern singer songwriter can sound while still coming across masculine and bold. I realize that doesn’t really explain how he sounds but, just trust me. There are so many tracks like this I could point to in my notes.
Males sound nice
Folks I find male vocals nice with the RQS. Obviously, it all comes down to what you want in a set of earphones. Some may want the more thickly weighted and warm sound to a male vocal, and I like that too. But, for what the RQS is tuned to be; I find I quickly align with this presentation and rendition of a male vocalist. They simply sound good. Not 100% authentically natural, but good.Upper-Midrange
Females are a hint more forward than males, with a nice vibrance and even some shimmer. The treble certainly colors the sound in this region which some may find a hair artificial. Maybe a bit thinner than lush, maybe too structured and less emotional… maybe. However, if you can look past that and hear the musicality in this type of tuning then I think you’ll like what you hear. They may not be emotional, but females are certainly engaging, and instruments come across energetic and fun.Edgy, Bright?
Females have some shimmer, but I don’t find them going overboard all too often. Still, out of full transparency, one of those slightly overboard songs is “Sensitive” by Megan Trainor. It can get a hair hot (actually a decent song to test for piercing glare in this region). Her voice is pretty sharp listening with the RQS. Granted I’ve heard other iems that are much worse. But, in blatantly sharp tracks the RQS may just be… a bit edgy bright. Electric guitar can come across with a bit of glare too.However, those are only small instances in obviously peaky tracks while the vast majority of the time the RQS keeps a nice timbre and tonality. For me personally, I mostly like a forward sounding female, with body to her voice, and a lusher vibrance. This is not exactly that. Yet still females sound well composed with good vitality. Which also shows that there are many tunings which can sound pretty great. I find this area fun and definitely sprightly and engaging.
Upper-mids cont…
Taylor Swift in “The 1” off her Foklore: The Long Pond Studio Sessions (stop making fun of me) is a sweet acoustic track and boy does the RQS nail this song. Maybe a pinch brighter than natural, but very nicely done. It captures the delicate sounding sweetness of her voice. There’re subtle nuances in the softness that is picked up as well without adding any extra grain at the edges of notes or any additional artifacts floating around the sound field. She sounds very resolute. Details emerge rather easily too, like her breath in the mike and the piano has awesome secondary harmonics. The miniscule & inobtrusive guitar plucks in the left side of my head space sound clear and distinct. It sounds like I’m in the studio with her.I realize this doesn’t all sound like a ringing endorsement of the RQS’s ability to replicate a midrange performance, but I have really grown to enjoy this set. Is it perfect? No, obviously not. But it does give another variation and tuning style to add to a collection. Possibly. Also, there is so much that it does right in my opinion which makes up for some small instances of glare.
Downsides to the Midrange
I think you already know what the “downsides” are by now. The sound can be a bit piercing on piercing tracks. The sound isn’t the most organic or natural. Warm and smooth lovers are not going to appreciate the RQS. It’s not the most emotionally engaging set in the world. If by emotional we are referring to warm, smoothened, thick, weighted. However, it is a fun and engaging set with decent detail retrieval, resolution is great, Imaging in this area is great. I don’t hear sibilance at all, and I enjoy it.
Treble Region
The treble is enthusiastic enough, and vibrant enough, with plenty of resolution and controlled brightness while not ever really becoming too fatiguing over time. Listening with this set simply gives my music a nice flavor or flare. This is a fun treble. It isn’t a moist or wetted treble with structured and molded note definition but there is some bite. For the price it is nice. The treble adds a dynamic and uplifted tone to the entire mix which comes across as energetic and sprightly. Nothing bland about the upper parts of the mix and extension is above average, I think. I think treble heads may still be wanting a bit more. Still, I like the energy as it adds real vivaciousness to my music. Examples
Listening to Billy Strings in his track “Secrets” I was pretty impressed by the speed of the RQS’s driver and its ability to handle this rapid-fire track with good agility. The treble comes across very nicely and really lifts the entire song up and adds some dimensionality. Another track is “Bishop School” by Yusef Lateef. This track has a ton of treble activity and I do like the way the RQS handles it all. Good separation, decent imaging, and I can distinctly hear the flute play, bass, congas, drums, electric bass, electric guitar, percussion, trumpets, strings and piano play as well. Though, some are easier than others as the recording isn’t perfect. However, the treble is represented nicely on this one.All in all, the whole treble region is very clear and clean and transparent. There’re awesome spatial cues when looking at the sound as a whole and the treble region does well to play a big part in that. I still hear a slightly dry-ish display at times, but nothing I’d label as bad at all. There’s also enough levity and shimmer to add decent details and still also have decent body.
Downsides to the Treble Region
Certainly, one downside to this area of the mix would be for those who don’t want as much treble activity as this set has. There are definitely folks who enjoy a warmer and darker overall listen and the RQS is most definitely not that. Also, serious treble heads will want a bit more punch, bite, even better resolution and details. I think it’s great though. For the price the treble is actually very nice. I hear no sibilance, no annoying peaks that make me cringe and the treble adds great lift to the entire mix.
Technicalities
Soundstage
The stage size is also a bright spot for me. I find the RQS shows off good width and above average from the other sets I’ve heard in the price point. I hear a nicely open sound, nothing boxed in or congested. The height is average. By the way, “average” to me is the same as saying “I hear nothing bad, but it isn’t a huge expanse of sound” … It’s average. Good and perfectly reasonable but not out of the ordinary good. I hope that makes sense, maybe help decipher my ridiculous babble. Anyways, the height is average and there is actually some depth of field too. There is a roundness to elements within the stage. For $49 I think this is good to hear. There is an element of 3D. Depending on the track and your source, the RQS is capable of a very nice stage.Separation / Imaging
Separation is also pretty good. Not mind blowing but good enough to notice and remark about it. The only caveat is in tracks which have a tone of melodic commotion or congestion. The bonus with this set is the balance it has which helps tremendously to not have any one area of the frequency drowning out any other area of the mix. Also, this does sound like a good driver. I would assume by looking at the graph that we’d see some mud from the overlapping mid-bass, but we don’t. It doesn’t show up in my listening. This is a clean sound and so separation is also pretty clean. The same goes for imaging. I find placement of instruments is what it should be… Good. This is a fine-tuned set, and it performs folks. Rose Technics & Ikko made a good one.Detail Retrieval
As far as detail retrieval, I feel the RQS is slightly above average. Not great but certainly not a “con”. I think it does a better than adequate job of bringing the small nuances and finite little subtleties to the surface. Macro-details are great, the sound has good resolution and micro-details (to me ears) are nice. Without question this set is not a detail monster. The RQS still retains some essence of musicality. There’s a good mix of musicality and analytical technical ability which is nice to hear.
Is it worth the asking price?
I think you all probably know what I’m going to say here. To be honest I rarely do reviews of sets I don’t enjoy. I’ll turn them away because it isn’t fun to write about stuff you don’t like. Plain and simple. I’ll conduct them reviews I don’t enjoy for tour units etc. but mostly I keep it to the sets I enjoy. However, that doesn’t mean I’ll say it’s worth the asking price. Asking price is a different ballgame. Still, this set, in my mind, is totally worth the price. In fact, it’s undersold if you ask me.The Why
To start the packaging and accessories are all very nice. The case is a great size, made well. The cable is one of the best you’ll ever purchase at this price, no doubt about it. Really a beautiful cable. The build is truly top notch under $50. The alloy and resin mix makes for a very durable and solid iem. Also, the look is stellar! What a good looking iem! It’s lite weight, small, easily wearable for long periods of time if needed. All that said, as with every set the real reason the RQS is worth every penny that Rose Technics & Hifigo is selling at is the sound. Folks the sound quality is very good and easily competes with any in the price point in my humble opinion. This set is fun yet balanced, energetic yet not overly fatiguing, it’s got a speedy and punchy bass, great mids and nice and snappy treble. The stage is good, Imaging is good, and the detail retrieval is better than many sets in the price point. This set is worth every penny friends.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Rose Technics QuietSea ratings below, that would be $35-$55 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $35-$55 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.5 One of the best builds in the price point.-Look: 9.3 This set looks dope!
-Accessories: 9.6 It’s hard to beat these accessories at this price
–Overall: 9.5
Sound Rating
-Timbre: 8.7 The timbre and tonality are very good.-Bass: 8.8 Mature bass that is quality over quantity.
-Midrange: 9.4 The mids are great on this set.
-Treble: 9.0 The treble is clean, snappy & extended.
-Technicalities: 8.9 Overall, technicalities are very well done.
–Overall: 9.0
Ratings Summary:
If you ask me these ratings pretty much tell the story. There are a couple questionable calls on my part but mostly I think they check out. I chose to go with sets ranging from $35 to $55 with any driver configuration, and if you are paying attention, that is a lot of iems. What a demo to get stuck in! Let’s put it this way, there’s more than a few sets that the Rose Technics QuietSea will have a hard time beating out. Namely, the EPZ Q5 (Q5 Review), the BGVP P05 (P05 Review), the Simgot EW200 (EW200 Review), the Reecho SG-01 Ova (SG-01 Ova Review), and the Kiwi Ears Cadenza (Cadenza Review) to name only a few. Those all are flat out fantastic sets. But also, the QuietSea is pretty fantastic too, probably one of the best you can pick up at this price point if the tuning suits you. I certainly think it plays ball with the big boys of this target that I’m rating against.Ratings?
Folks, ratings almost make no sense in this hobby. They are rendered obsolete in a year’s time and honestly, they simply don’t tell the whole story. However, I’ll play the game. Carry on… So, the first place that one could certainly argue against my rating is the “Bass” area. Well, actually you could argue any of them, but the Bass is one that would most likely generate people coming out of the woodwork to tell me I’m nuts. Still, I feel the bass is of high quality for the price. In the same breath bassheads would likely give this set closer to a “4.0” rather than a lofty “8.8”. Conversely, I could see folks wondering why I didn’t put the bass closer to the high 9’s. It’s good. However, I simply feel they are missing a bit of rumble and some oomph. I feel an “8.8” against the field is fair.I also think some people could argue a “9.4” is too high in the “Midrange” category when the timbre isn’t even perfectly organic or about a hundred other reasons. Folks, I gave it a 9.4 because it simply beats out other sets in my mind. Vocals are great, Instruments come across very nice and the midrange is a mix of musical and technical and I’ve grown to love it. The rest of the ratings I won’t budge on against iems ranging from $35 to $55 that I’ve heard with my own ears. Now, before you go getting yourself in a tizzy, just know, I haven’t heard every set in this range. This is only based on what I’ve heard and understand well enough to actually make a judgment. Granted, I feel as though I’ve heard most of them. So that’s it, the RQS is a very well accomplished iem that quite literally can stack up against any of them. For me personally, I’d only put the EPZ Q5 ahead of them and a couple others…depending on the day and my mood.
Conclusion
To conclude my full written review of the Rose Technics QuietSea, I want to first thank the good people of HiFiGo. I also want to remind all of you that Hifigo quite literally has a massive selection of almost everything to do with audio. This isn’t a commercial, but I have spent so much time on that site and have purchased a ton of iems from them. Always easy, fast shipping too. Okay I veered off there but I’m back… HiFigo…Thank you. I also want to thank you, the reader, for clicking on the link and checking out this review. Always it means a lot and I truly hope it actually helps you to form an opinion. Other perspectives
Every review, without fail will have a paragraph in it imploring you all to not simply read my review and hit “buy now”. Please check out other perspectives and other thoughts about the Rose Technics QuietSea. People, we vary so much! No two of us are exactly alike. The same goes for thoughts on audio. We all don’t have the same library of music, the same likes and dislikes, we don’t all have the same gear which makes a huge difference and also, we haven’t all been down the same journey within audio. So please check out other reviewers and I do hope you are able to make an informed decision. That all said, please take care, stay as safe as possible and as always, God Bless!
Hidizs S9 Pro Plus Review
"Sweet Martha"
Hidizs S9 Pro Plus Review
“Martha”
Intro
Hello, today I am reviewing the follow-up of the much loved and admired Hidizs S9 Pro with its new predecessor the Hidizs S9 Pro Plus ($79.99). This latest entry into the “S9-series” is actually the 3rd installment. Hidizs began this wildly popular series with the 1st iteration, the Hidizs S9 which was quickly followed by the S9 Pro. Now, the S9 Pro was certainly one of the more impressive dongle-dacs within that first wave of the dongle-dac fury which first happened upon the Audioverse a couple years ago. The funny thing is… the S9 Pro still holds up very well. In my opinion it is still one of the best on the market within its price point. Anyhow, this latest entry into Hidizs lineup of dongle-dacs has some big shoes to fill. We shall see if the S9 Pro Plus is actually an upgrade and does the S9 Pro Plus provide a big enough leap to warrant purchasing one if someone already has the previous version.Hidizs
The audio company Hidizs has gone through a sort of renaissance the past year or so, igniting the audio world with device after device, earphone after earphone ultimately filling the pages of Facebook, Reddit, and Head-fi as well with glowing reviews and few detractors.We have seen some huge hits in the Audioverse such as the Hidizs MS3 (MS3 Review HERE), the Hidizs MP145 (MP145 Review HERE), the Hidizs MM2 (MM2 Review HERE), or even the much more expensive Hidizs MS5 (MS5 Review HERE) as well as the much less expensive “budget oriented” iem, the Hidizs MS1 Galaxy (MS1 Review HERE). However, it wasn’t just earphones that got updated, but also some small daps like the Hidizs AP80 Pro-X, or dongle dacs like the Hidizs XO or Hidizs S3 Pro Ultra. The only area we were waiting for was an update to the Hidizs S9 Pro (Pietro’s S9 Pro Review). Thankfully, this is why we’re here folks. The Hidizs S9 Pro Plus comes with some acclaim and anticipation, at least it does for me. I truly adore the older S9 Pro, which personally builds up the intrigue to this latest adaptation of the S9-series.
Martha
Who’s Martha? Yes, that is right folks, Hidizs named the S9 Pro Plus… Martha? Okay it may seem like a strange name, as the name Martha is more closely aligned to a soccer mom in the mid-80’s or the valedictorian and spelling bee champ in everyone’s local school system, also in the 80’s. We all knew a “Martha” didn’t we? I am joking, Martha is a fine name folks and I’m not making fun of spelling bee champs either. Lord knows I live and die with “spell checker”.I digress. The actual reason for the name Martha is kinda cool actually. I enjoy that Hidizs decided to look a bit deeper to give this device a proper name. Hidizs actually named the S9 Pro Plus “Martha” because that was the name given to the last remaining and last surviving female Passenger Pigeon. That is actually a nice concept for a naming scheme. Nice job Hidizs! Did you know that the Passenger Pigeon was the largest species of flocking bird… Ever?! Also, did you know that it’s been 109 years since they’ve gone extinct? Well, now you do. Anyways, to commemorate and remember this precious species of birds, Hidizs decided to name their illustrious 3rd generation device from the “S9 series” after the actual name of the last lone surviving female. Pretty cool. Hey at least they didn’t name it a “number name“.
One Diversity
Names are important and as it turns out, Martha is a dope name. The naming of Martha represents a reminder to the fact that we are “one diversity” and to cherish “nature” & “life”. Those were Hidizs words. I’d say that’s an honorable sentiment and one I’m sure we could all get behind. At least Hidizs put some reflective and virtuous distinction unto the personality of this brand-new device. With that all said, perhaps I went a bit long on that breakdown? Hey… Now you know.Dongle Madness
Dongle Dacs have come a long way from even just a couple years ago. We had the absolute CRAZE of “Dongle Madness” brought on by one of the more awesome people in the hobby… Andy EF. However, it was a bomb which only needed to be charged. The hobby was needing something to bridge the divide between those who couldn’t afford a DAP (or similar device) and those who no longer owned a phone with a 3.5 port. It was the perfect storm. How nice is it to be able to simply plug a device into your phone and you have hi-res audio on the ready. The last few years we’ve seen a 1000% uptick in dongle dac sales and dongle hype. Every week a new one hits the market, which naturally provides intrigue and speculation. It’s no wonder too! Again, how nice is it to simply attach a hi-res device into your phone, stream your music or play your own files, how nice is that? Certainly, dongle dacs have brought upon serious questions as to whether Digital Audio Players (Daps) or desktop setups are even needed. While I am not one who would go that far, I can tell you without the shadow of a doubt that many do believe this is true.I’m excited about this one folks, and I’ll do my absolute best to relay what I think of the S9 Pro Plus so to hopefully help you, the reader to make a purchasing decision. Before I do, I want to extend a big thank you to Hidizs for providing the Hidizs S9 Pro Plus in exchange for a full honest review and feature at Mobileaudiophile.com. With all that said, let’s jump into this one… The Hidizs S9 Pro Plus…
You can find the S9 Pro Plus HERE
Gear used for testing
–Samsung Galaxy Z Fold 4–Hidizs S9 Pro
–Moondrop Dawn 4.4
–Fiio KA3
–Hidizs MS3
–Hidizs MP145
–Aful Performer 8
Full Review can be found HERE
Packaging / Accessories
Unboxing
Let’s do a quick unboxing friends, as there really isn’t much to say. Upon first receiving the S9 Pro Plus I was happy to see a small plastic box that is covered with a cardboard sleeve. On that outer sleeve you’ll see a picture of the device (S9 Pro Plus) as well as a few features. On the back is the usual small print specifications… and that’s about it. Nothing crazy, nothing that will jack up the cost of the device for needlessly lavish packaging. Nice move Hidizs! Anyways, the box is large enough for the S9 Pro Plus itself and that’s about it. Truly a tiny little box. I like that Hidizs is being as least wasteful as possible. These are the little things that I pay attention to in this hobby. Hidizs could’ve upped the price $10-$20 more and added some graphics, pouch, extra adapters etc. They are smart though. They know we likely already have this stuff and also, it keeps the price low and within the budget category. All expenses go into the device itself.What’s in the Box?
This’ll be quick. Take off the sleeve and you’ll see a plastic little box. Open the box top off and you’ll be greeted by the sleek and slick looking Martha, in all her glory. You’ll notice a couple pull tabs to remove the top layer and when you do, you’ll find a small box with some extras in it. Inside you’ll see one short type-C to type-C data cable. Hidizs also added in a type-C to usb-A adapter. However, I think I speak for everyone when I say that the next item, I describe is likely the most important. That’s right, Hidizs added in not one, but two little “Hi-res” stickers. It ain’t audiophile if it doesn’t have the stickers folks. Anyways, I think that Hidizs kept things simple, and I think that the packaging is nice, neat and not wasteful.
Build / Design / Internals
Build Quality
The quality of the build and the design are both upgrades from the previous S9 and S9 Pro devices. Certainly, the look. Hidizs went from Aluminum on the earlier S9 series devices to an upgraded Aerospace Aluminum material for the body of the device and glass on the front and back. So, the material didn’t really change a whole lot, but the feel of the unit seems upgraded when in hand. That’s one piece of CNC machined Aerospace Aluminum. Folks, everything about this device screams durability and structural integrity. Robust is a word which keeps coming to mind.On the left side of the S9 Pro Plus you’ll notice two buttons which resemble small volume wheels. These buttons feel sturdy, not wiggly or loose and they don’t feel cheap at all. I’m telling you; the construction is very good. On the front end of the device is the type-C data port and on the opposite side you’ll notice the 3.5 single ended port as well as the 4.4 balanced port as well. Now the 4.4 port isn’t necessarily an upgrade but for those of us wishing the previous generations had 4.4…we consider it an upgrade. There’s also a Hidizs logo which lights up and provides certain info for which I’ll get into later. As far as build is concerned the Hidizs S9 Pro Plus is a great device.
Design
Hidizs knows design language. They just do! I feel everything they put out has a modern and stylistic twist to the design. Never just plain or bland with this company. Obviously, there was a lot of thought which went into the look and feel of this device. Hidizs actually makes the S9 Pro Plus in three distinct, bold, and good-looking colors with a “blue” model, a “black” model, and a “silver” model (see pics below). I think it’s pretty apparent that mine is the silver and I absolutely love it. I think it’s one of the best-looking dongle-dacs under $100. The body is so dope looking with straight edges, polygonal lines and a very bold design. The Hidizs logo is a nice touch and when it lights up it really “Pops” in contrast to the color of the body. Everything looks reinforced, clean, sleek and contoured with symmetry and style. Fantastic job Hidizs, this device looks awesome!
Internals
Now this is where we delve into the nuts and bolts of this review. Everyone is always wanting to know what dac chip that they went with. As if that is the only determining factor as to how the S9 Pro Plus will sound. Well, Hidizs actually opted for a tried-and-true dac chip by using the ESS Technology ES9038Q2M chip. This chip enables the S9 Pro Plus to get PCM sampling rate support of up to 32bit / 768khz audio rendering. It’ll also get you up to DSD 512 (Direct Stream Digital). This chip also happens to use ESS Technologies patented 32bit Hyperstream II quad dac architecture and jitter eliminator. The S9 Pro Plus also has a high SNR of up to 128db and an ultra-low THD+N of -120db. You gotta have quality components and Hidizs was able to supply that.
Specifications
Specs
-Dimensions: 55×25×11mm-DAC Chip: ESS9038Q2M
-DSD: Native DSD64/128/256/512
-PCM: Support up to 32bit/768kHz
-Output option: Compatible with single-ended 3.5mm and balanced 4.4mm plug earphones
-Sampling rate indicator: Support
-Shell material: CNC integrated aluminum alloy
-Function buttons: Two in total (side of the device)
-Switching filter: Supported (simultaneously press both volume buttons)
-Transmission interface: Type-C interface interchangeable cable design
-Supported systems: Android, Windows, Mac OS, iPad OS, Harmony OS
-Net weight: 17g
-Color: Black, Sliver, Blue
-Packing list: Type-C to Type-C Cable×1, Type-C to USB-A adapter×1, User manual×1, Warranty card×1
Audio parameters
(Test conditions @32Ω Load)-Frequency Response: 20Hz-40kHz
-Distortion: PO (3.5): 0.0019% BAL (4.4): 0.0008%
-Signal-to-noise ratio: PO (3.5): 123dB BAL (4.4): 120dB
-Separation: PO (3.5): 75dB BAL (4.4): 115dB
-Output power: 3.5 SE= 138mW+138mW 4.4 BAL= 180mW+180mW
Features
Filter options
Hidizs decided to provide seven different PCM pulse filter response effects which actually provide some nicely subtle changes to contour and change the sound to suit your particular taste. Friends, usually filter effects are gimmicks and rarely show any signs of sculpting to the sound. I can’t tell you how many source devices I’ve owned which claim to give you these sweeping changes to alter the sound. Yeah… Not so much. At best you will hear the slightest, faintest and most finite little changes to the sound. However, I actually found that the S9 Pro Plus actually does effect some “changes”. Not all make as big a difference as others, and it takes a very discerning ear and the right type of track to notice with any concrete distinction. Still, they are changes nonetheless and I welcome it. Hidizs crafted an easy way to navigate through these filters by employing both of the side buttons to complete the task. Just press both buttons simultaneously and they will cycle through the filters. You will also notice that the Hidizs logo on the body of the S9 Pro Plus changes color to indicate what filter you’ve changed to. Those filter colors and descriptors go like this:- “Green Light” Anodizing fast roll-off (Default Filter): Vocals are slightly forward, and high frequencies are extended with reduced resonance.
- “Red Light” Linear phase fast roll-off: Enhanced analytical capabilities, delivering a clean and crisp sound.
- “Blue Light” Linear phase slow roll-off: Enriched harmonics, full low frequencies, and natural reverb.
- “Yellow Light” Minimum phase fast roll-off: Balanced and moderate sound.
- “Purple Light” Minimum phase slow roll-off: Clean sound with a forward position.
- “White Light” Hybrid fast roll-off: Soft and smooth sound with enhanced detail
Effectiveness
Again, these aren’t mind boggling changes and I haven’t honestly spent a ton of time going through trying to analyze each filter to see if it matches Hidizs’ descriptors, but I have spent enough time to hear the difference and actually pick one that I like the most. My favorites are “Blue” filter for earphones that are a bit more neutral-ish in tonal color and the “Red” filter for a warmer set. Remember it is ridiculously easy to cycle through these. Simply push both buttons and the light will change. Very cool.Sample Rate Indicators
Like most dongle-dacs or source devices the S9 Pro Plus will indicate the exact sampling rate in which you are listening to at any one given time. In this case the logo will light up and stay lit to the corresponding sampling rate. For instance:-Yellow: DSD 64/128
–Purple: DSD 256/512
–Blue: PCM 176.4/192(kHz)
–Red: PCM 352.8/384(kHz)
–White: PCM 705.6/768(kHz)
–Green: PCM 44.1/48/88.2/96(kHz)
The indicator light is a pretty snazzy feature. Again, we’ve definitely seen this many times in the past, but I suppose it’s worth noting. Plus, it looks nifty. It’s certainly better having it tm than not.
Connectivity
It should be noted that the Hidizs S9 Pro Plus is like any other dongle-dac as it is a simple and easy to use “plug n’ play” device. Using the S9 Pro Plus on Windows was a simple task. Also using with a mobile phone is just as simple. The S9 Pro Plus is compatible with Windows, Mac, IOS (iPad/iPhone), Android, Harmony OS. There aren’t any 3rd party drivers that I’ve needed when connecting the S9 Pro Plus to my Android Samsung Galaxy Z Fold 4. Just simply plug it in and give some permissions and it’s as simple as that.Driving Power
When it comes to having enough output power to competently drive and operate iems or earphones it really doesn’t take much most of the time. In fact, any earphones that I have in my possession are all fairly easy to drive. The S9 Pro Plus actually has some decent power under the hood. It isn’t life changing though and definitely not class leading but hearty enough whether on single ended at up to 138mW @32 Ohms or balanced listening which will get you 180mW @32 Ohms. I honestly never had an issue and even my harder to drive earbuds were a simple task for the S9 Pro Plus. The funny thing is that the newer version S9 Pro Plus has less driving power when listening on balanced than the previous version (not by much). However, the new S9 Pro Plus actually has substantially more driving power on single ended. Either way the S9 Pro Plus can pretty much drive any earphones, within reason. I no longer have the Final Audio E5000 unfortunately which would’ve been great to test out though it is doubtful a low impedance/low sensitivity iem such as the E5000 will be driven properly. Take that for a grain of salt though.Does it have enough?
I also think that you’ll have to be reasonable as to how well the S9 Pro Plus will be able to push some high-impedance full sized cans. The voltage swing may not be enough to drive the more difficult over-ears perfectly. Again, I have none on hand to test out at the moment. So, I do hope you can forgive me for that. The output power is actually much better on 3.5 single ended than I had anticipated with an output of 138mW per 32Ohms. However, I did notice a slightly better dynamics with 4.4 balanced but it isn’t an across-the-board improvement such as you’ll hear on many devices. Which is a great thing. At the end of the day, I feel the S9 Pro Plus has plenty of driving power for my needs and I’m sure many of you reading this have a good idea how well it will drive your gear too.MP145 for example
Listening with the Hidizs MP145 (which is actually pretty easy to drive for a planar) I found the S9 Pro Plus to push this set very well. I truly had zero issues. The MP145 was dynamic and nimble and all the little fluctuations and modulations within any track were easily navigated through listening to this pair. Transients were speedy and the timbre was rich. It’s true that the MP145 is fairly easy to drive but it isn’t the easiest to drive to its pinnacle. While the S9 Pro Plus doesn’t have the fidelity of more expensive source devices, it is very well done for what it is, and I felt I lacked nothing with the MP145. This is a great combo folks.
Full Review can be found HERE
Sound Impressions
Note: All critical listening impressions are based after roughly 50 hours of playtime (give or take). I also conducted this review while listening to flac or better files which are stored on my devices. I mainly used the three earphones I mention below but I also used many others during the course of my time with the S9 Pro Plus. To conduct this review, I will be using a few different earphones in the Hidizs MS3 (MS3 Review), Hidizs MP145 (MP145 Review) as well as the Aful Performer 8 (Review coming soon) (Pavan’s P8 Review). I chose these sets simply because they are Hidizs products and… Why not? The Aful Performer 8 made sense to use because I am actually in the middle of a review at the moment. Kill a couple birds with one stone type of thing. I also have been using the S9 Pro Plus for around a month now and feel I have a good grasp on the sound so I will do my best at relaying that to you. Folks, conducting source reviews are always difficult because so much has to do with the earphones you are using. I will provide very general ideas about the overall tonality and sound descriptors only because so much can alter how we perceive sound.
Warm & Dynamic
One thing I find especially nice about the S9 Pro Plus is the overall musicality, smoothness, and lushness of the replay while still holding onto the technical side of my music as well. What we have is a slightly warm/neutral tonal color across the whole of the mix with the scales tipping slightly more to the warm side. Not to the point of veil and there is enough good neutrality mixed in as well. It certainly isn’t anywhere near “Dark”. The sound has good depth which adds some realism and an almost 3D effect. I hear good dynamics within the subtle warmth which is very engaging. The S9 Pro Plus does a fantastic job of keeping a softer timbre yet with added body to notes. Macro-dynamic fullness and intensity is there to add some dynamic expression to the sound though not equaled to more expensive source devices. Good for a $79 dongle dac though. Also, micro-dynamics are fairly well controlled and nimble for a dongle dac at this price. So, there’s some nice micro-dynamic agility and the transient quickness is pretty nice for a lusher sounding source.Solid Performer
The replay of the S9 Pro Plus is a solid performer at the price point. Technically it is pretty solid too with good separation of elements within the sound field, pretty good staging and imaging is nice as well. It’s evident that Hidizs have taken all of their collective knowledge into account and bestowed that knowledge unto the creation of Martha. The S9 Pro Plus has a more energetic replay amongst the warm/neutral sound, which makes for some nice listening sessions. Basically, the S9 Pro Plus will give its own spin to your earphones when attached. I have come to very much enjoy the naturally weighted and organic sound of the S9 Pro Plus, so much so that going back to something like the Fiio KA3 for example details pretty quickly where the KA3 lacks.
Sound Between the 20’s
Note: In this portion of the review, I will go over each 3rd of the mix (Bass, Mids, Treble) but please keep in mind that much of what I hear will be dictated by the earphones I have attached at the time of listening. I will try to describe how the S9 Pro Plus alters the sound as best I can. Bass Region
The low-end is emphasized, warm, rich and provides a slight lift in bass quantity to any earphone I attached it to (within reason). The bass reaches decently deep but will still let your earphones be what they are. If your earphones dig deep, so will the S9 Pro Plus. If your earphones aren’t the heartiest of bass heathens, then the S9 Pro Plus will not suddenly shock your ears in rumbly bass. For instance, the S9 Pro Plus won’t all of a sudden turn the HZsound Heart Mirror into a basshead set. There is a subtle emphasis with good added texture, good micro-dynamic movement and macro-dynamics are expressive as well for a $79 source device. Just enough to keep things fun.For instance, listening with the Hidizs MS3 I noticed a nicely hefty low-end response on bass heavy tracks. The S9 Pro Plus seemed to only enhance the capabilities of the MS3 in this region. The bass hits with good authority and extends nicely with good physical feedback, haptic reverb and a deft and tidy density. I find percussion hits with good energy and punch and are certainly well laid out and highlighted. Bass drops hit hard and with a robust boom when called upon and when using some earphones with a beefier low-end response. Yet at the same time there is a fine element of speed and a tautness to the sound that I find enjoyable. All in all, I really enjoy the low-end of the S9 Pro Plus.
Midrange
The midrange is a bit more forward in the mix, smooth, bodied and even robust too, which gives a nice presence to vocals and the midrange is nicely detailed. The S9 Pro Plus skirts around any upper-mid sheen or emphasis so you won’t have any eye wincing glare. The timbre is on the “smoother and thicker” side of the aisle but that doesn’t mean we don’t have nice separation of elements or good illumination of the subtleties within my music. Like I already stated, the micro-dynamic small shifts in energy are well done for what the S9 Pro Plus is. Granted, you have to keep in mind the price here as this little guy won’t compete against higher-end gear. Of course, we shouldn’t expect any dongle-dac to compete against them either. The midrange is represented very well with a clean replay that also gives a realistic and organic flare to the sound in relation to the tuning of any earphone you are using.Attaching the Aful Performer 8 to the S9 Pro Plus creates a very nice and melodic harmony. What a pair. You have the neutral/warm sound of the P8 and the slightly richer and lusher sound of the S9 Pro Plus. Vocals sound fantastic. There’s a very nice depth in the sound which gives off a rounded portrayal of voices and instrumentation. The sound is musical at its heart and doesn’t have any glare or peakiness. The S9 Pro Plus brings the P8 right to the brink of glare and stops just short while keeping a well-bodied and mellifluous sound throughout the mix. Also, the staging seems accurately placed within any recording/track.
Treble Region
The treble region is mostly a non-offensive affair and won’t add any undue brightness or forced resolution. In the same breath, the treble does have nice body to notes and even adds some controlled bite at the peak of each note. This all depends on the track being played and the earphones being used. But, for the most part the S9 Pro Plus adds welcomed realism to the sound adding color to the mix in a way that brings some naturally weighted authenticity to the sound. Much like the Shanling M6 Ultra that I use so often, the sound won’t be super lifted or abundant in extra brilliance, but it is balanced to the rest of the mix. In the same breath I find extension into the highest of highs to be nice and detail retrieval is also good too.One thing I find to be great is that I truthfully never hear the ESS glare or metallic and artificial timbre which can occur at times with these chips. Hidizs did a commendable job of tailoring the sound and the treble region is no exception. I find the natural timbre up top to be refreshing and easy to listen to for extended periods. I’ve heard this before out of these ES9038Q2M chips. Now a lot has to do with implementing them correctly, obviously, but I’ve heard similar warmth and note weight on the Shanling UA5 which also shares the same chip.
Downsides to the Sound as a whole
If I were to nitpick or find some subjective issues that some may find bothersome, I’d say that the S9 Pro Plus will not be a treble heads delight. The S9 Pro Plus leans to the warm/rich side of the aisle and doesn’t add forced vibrance to my music but instead comes across in a natural way. Also, this is not a dry and analytical sound or an ultra-detailed listen for those who prefer it. The S9 Pro Plus does an admirable job articulating the nuances in a track but mostly the S9 Pro Plus leans on its musicality with a more emotional replay, rather than a detailed and lean expression of sound. Folks these are seriously minor nitpicks. For $79 this dongle-dac sounds great!I'd say the biggest downside to the sound is actually, there are so many other great sounding dongle-dacs in the Audioverse. The S9 Pro Plus just adds a slightly different flavor. That said, it is a flavor I greatly enjoy.
Technicalities
Soundstage
This is a tough call for a reviewer because so much depends on the earphones you are listening with. However, the stage of the Hidizs S9 Pro Plus offers the listener a wide psycho-acoustic rendering of my music. No doubt the stage is nice from side to side with average height depending on the earphones. However, one standout feature of the stage is the depth and the added layering of elements within the stage. Like I said earlier, there is almost a euphonic effect or 3D effect to the sound. Again, the hijacked meaning of “euphonic”. The stage is well setup and nicely displayed.Separation / Imaging
Separation of elements on an imaginary stage are also very nice to my ears. The S9 Pro Plus will take the good abilities of something like the Hidizs MP145 and follow suit. Basically, the S9 Pro Plus will not take away and congest the sound or muddy the sound. As much as I can glean from listening to a source (S9 Pro Plus) and trying to decide whether separation or imaging is good or bad on that source I find it easy to hear that the S9 Pro Plus is a fine device which can easily parse out and partition off instruments and vocalists rather nicely. Even with the slightly richer sound. Imaging is just the same. The S9 Pro Plus has good control of the sound field from what I can tell. The best way to know is that sets with usually great imaging remain great attached to the S9 Pro Plus. Also, sets that aren’t as great get a little help in this area, like when listening to the HIDIZS MM2 that I was going to use for this review but decided against for various reasons. Honestly, as far as one can tell I would say that separation and imaging are well done.Detail Retrieval
The detail retrieval is actually fairly nice, not a detail monster, though. Micro-details come about fairly easily depending on the earphones and the type of genre or track you are listening to. I found the Aful P8 to have abundant in details with the S9 Pro Plus. Same thing goes for even the Hidizs MS3 which is good at rendering details but not inherently great. Basically, it isn’t it’s calling card. However, the stage is wide, the transient behavior is perceivably tight enough, separation seems good, micro-dynamic energy sounds agile and nimble to pick up the lower-level slight fluctuations in volume. For a $79 dongle-dac with a lush presentation the S9 Pro Plus does a better than adequate job. Granted it isn’t the strong suit of this little guy, but it isn’t a detriment either. Maybe average, but average is good.
Comparisons
Note: I will be very brief in these comparisons. I want to keep my word count down for the algorithm and so I will use very general verbiage when describing these differences. All comparison testing was done with the same set of earphones listening to the same tracks for an extended period of time. Hidizs S9 Pro ($77-$85)
Friends, the Hidizs S9 Pro was somewhat of a benchmark for some time at just above $100. This little device was one of the kingpins of the dongle madness brushfire which overtook the Audioverse a couple years ago. The S9 Pro is one of those dongle-dacs which simply doesn’t get old, and frankly still holds its own even today, quite easily too. The S9 Pro features the same ES9038Q2M dac chip and performs very well for a dac/amp at this price. Originally the MSRP of the S9 Pro was closer to $117 but has since come down in price to a more budget friendly price point.
Differences
To start, the look of the newer Pro Plus version is more modern and stylish in appearance, In my opinion. The old S9 Pro lacked physical buttons and is slimmer in comparison. I find the old S9 Pro to be a great looking device, but the S9 Pro Plus is simply gorgeous and really does trump the look of the OG. Also, the S9 Pro only offered 3.5/2.5 ports whereas the much welcomed 4.4 balanced port was added to the newer S9 Pro Plus. This was a big deal to me and many folks in the hobby.Sound differences
Both devices work off of the ES9038Q2M dac chip and both have a fairly powerful amp section. However, like I’ve stated, the OG S9 Pro has a hair more power in balanced but much less output power on single ended. To be honest, from my testing the new device has more real-world driving power than the old, no matter what the spec sheet says. I find the newer S9 Pro Plus to tilt a hair more to the organic and musical side of things, whereas the older S9 Pro has a hint more neutrality.Bass Region
Between the two the S9 Pro has a slightly more neutral lean, a brighter hue, more uplifted across the mix and less low-end emphasis. I find the new S9 Pro Plus has a fuller low-end with a warmer and weightier response along with more punch in the low-end. The S9 Pro is a bit leaner but also has a more vibrant low-end, crisper. Both devices can bump though.Midrange
Moving to the midrange, the new device is a tad more forward, lusher, weightier, a hint more realistic and better detailed. The staging in the midrange is more 3D on the S9 Pro Plus as well. Again, I find both generations to be very well refined, but I cannot help to be more impressed by the S9 Pro Plus.Treble Region
Both devices have a nice treble response, but the newer device has a hint less overall treble quantity. However, despite that the S9 Pro Plus has a more contoured, textured treble combining with less instances of sibilance. The new device is simply less vibrant up top. The OG S9 has more treble sheen with slightly more bite. Detail retrieval is very close between the two devices and to be totally honest it is only splitting hairs between the two.Technicalities
Starting with the stage I find both devices have a pretty grand stage with equal width across the two devices, same with height. However, depth narrowly goes to the S9 Pro Plus as evidenced by listening to “Hook” by Blues Traveler. Layering is only a hint better on the new device and separation is too close to call. Detail retrieval may be more in favor of the older S9 Pro but that is completely dependent on the track you are listening to. Is say both devices do detail retrieval well.In the end
To be honest, both devices sound pretty similar but I find the new S9 Pro Plus has more macro-dynamic punch and just as good transient agility, but at the same time it has a richer sound and a more organic sound. The older S9 Pro has a touch more vibrance and is basically what one would expect from an ESS dac chip and tuning. You do have a hint of that “ES timbre” but it is mostly kept in check. The S9 Pro Plus almost sounds more like an AK chip in that there is a bit more of a velvet musicality and resolving warmth. That ES9038Q2M chip has helped a few devices to be slightly thicker with a slightly warmer hue. However, when all is said and done, I think that the biggest difference between the two is… Musicality. The newer S9 Pro Plus is a bit more musical. This comparison is a testimony of Hidizs ability to craft these devices. I do think that the older S9 Pro is still relevant and near the top of the best under $100.Moondrop Dawn 4.4 ($69.99)
The Moondrop Dawn is what I believe to be one of the best dongle-dacs for pure sound quality that you can buy under $100. The Dawn 4.4 is truly a beast against the field and completely overlooked and undervalued. However, Moondrop left out any kind of volume buttons, or any buttons for that matter. Another thing that some folks don’t really jive with is the fact that the cable is non-removable. However, one of the largest disappointments is the fact that the Dawn will only run on 4.4 balanced. There is no single ended usage. Still, the Dawn 4.4 runs off of a tried-and-true Cirrus Logic CS43131 dac chip and a ton of power under the hood at 230mW @32 ohms. Also, Moondrop does have a dedicated app which is a huge luxury to have which can help with many different functions. The question I wondered since I received the Hidizs S9 Pro Plus is, “How will the S9 Pro Plus stack up to the Dawn 4.4 in straight up sound quality?”
Differences
To start, the Moondrop Dawn 4.4 is cylindrical in construction which means it will not sit flat when not attached to a device. It may or may not have rolled off a table or two at my home and office. However, I do really enjoy its understated look. Let’s be real though, the Hidizs S9 Pro Plus is a much more dope looking dongle-dac. The S9 Pro Plus does have a detachable cable and it does have volume controls as well. Both pluses in my book. That said, the Dawn 4.4 has an app as well as a touch more output power on balanced listening.Sound Differences
Between the two, the Moondrop Dawn 4.4 is certainly the brighter (though generally not bright) and analytical (though still very musical) while the S9 Pro Plus has a warmer and more weighty response across the mix.Bass Region
Beginning with the bass region, the S9 Pro Plus has a little bit more in the tank with a beefier low-end. I find the Dawn 4.4 has the speedier and more transient quick bass. Mind you, these differences are very minimal. Both devices offer a clean bass drop, weighted & full bass guitar, and both devices will give your earphones a slight bump in this region.Midrange
The midrange playback of the Dawn 4.4 features a nicely textured and slightly less musical take on the region. Perhaps a bit better detailed but not as dense in note delivery. I find both devices to prop up the midrange, scooting them a bit more forward. Yet they present them differently, tonally speaking. The S9 Pro Plus is closer to warm/neutral throughout and more organic sounding, whereas the Dawn 4.4 is closer to neutral with better texture. Macro-dynamics come through with more fullness on the S9 Pro Plus, but micro-dynamics and micro-definition are a bit easier to navigate on the Dawn 4.4. The Dawn is crisp, clean yet never too crisp. The S9 Pro Plus is smooth, weighted yet never too smoothed over. I feel the Dawn 4.4 is technical over musical and the S9 Pro Plus is musical over technical. Both do well across the board, however. Just skewed a bit differently is all. In all honesty, these two complement each other nicely and would be good to have for a collection.Treble Region
The treble region of the Dawn 4.4 is a bit more on the airy side while the S9 Pro Plus has smoother sound with more of a bodied presence. Again, this does not mean the Dawn isn’t nicely weighted or the S9 Pro Plus isn’t open sounding. Again, just skewed a bit differently. I find details in the treble region are a hair easier to focus on with the Dawn 4.4 while the S9 Pro Plus hold tight to the musicality in this region.Technicalities
Speaking about the stage size; both devices do an admirable job of presenting the stage. Both devices offer a nice sized stage but as always, a lot has to do with the earphones you’re using. The ability to separate elements of a stage seems about the same and imaging as well. Honestly it isn’t easy to compare source devices or to discern the ability of sources to separate instruments and voices while also figuring in the earphones you are using. To me they both do an admirable job. Let’s put it this way, I don’t hear anything negative while comparing. Detail retrieval is goes to the Moondrop Dawn 4.4 but again, both do a fine job at this price point.In the end
One thing is for sure, It’s a preference battle here. Both are nice dongle-dacs for the price and both simply do a great job of replaying music at a high level for the price. I love em’ both. If I had to choose what is the best deal at this price, I would say the Hidizs S9 Pro Plus, however. The Moondrop Dawn 4.4 is a bit thinner in note weight, a little less natural in timbre but it does make up for it in other areas. The S9 Pro Plus may not have the same transient quickness and neutral airiness but again, it too makes up for it in other areas. Also, one thing I should mention. Just because I say one is more open and airier than the other does not mean the lesser device is necessarily lacking. Comparisons sometimes can sound this way. At the end of the day, both devices sound rock solid for a small price.
Is it worth the asking price?
This is an easy “rec” from me. I don’t even want to string this answer out, absolutely Martha is worth the asking price. I would actually venture to say it is one of the best in the price point and should be in everyone’s shortlist who’s in the market for a dongle-dac around this price. Obviously not everyone will be on board with that, but I think it is a fantastic option for the amount Hidizs is asking. Of course, one must consider the other quality dongle-dacs in the price point and they should measure and weigh different attributes of each one but, it’s hard to find negatives with the S9 Pro Plus. I do feel that the S9 Pro Plus is certainly an upgrade from its predecessor, the Hidizs S9 Pro. So that will kind of give you some sort of a gauge for where the newer version sits in the Audioverse under $100.However, for the buyer there is so much to consider. You may want something which can be used both through a cable and through Bluetooth like the Qudelix 5k which is still a great device. The Shanling UP4 is a good device as well. Straight up dongle-dacs are truly in abundance at this price point. There is the Hiby FC4, Tanchjim Space, Truthear Shio, Jcally AP90, Shanling UA2 & UA2 Plus, Fiio KA3, Hidizs XO, DD Hifi TC44 Pro, and there are about fifty more to mention that are decent to very good within this price point. I don’t want to waste the digital ink trying to name them all.
The Why…
To answer “why” the Hidizs S9 Pro Plus is worth the asking price I would first start by saying that this thing looks flat out dope. Easily one of the best designed dongle-dacs out there. That said, it is also built extremely well. Just put it in your hand and you’ll feel what I’m talking about. The Volume buttons are a huge plus, the solid dac chip, nice driving power both in single ended and balanced. However, it is always the sound quality which is the final determining factor. The sound is so big in warm macro-dynamic energy and the note weight adds such a nice element to my music that I do find it hard switching to another source. I don’t know how else to put it. The sound is simply big, separated, layered, textured, clean and each area of the mix is represented so well. I love the musical nature of this dongle-dac and how my earphones synergize so nicely. I think this is a no brainer folks, the S9 Pro Plus is worth every penny.
Conclusion
To conclude my full written review of the Hidizs S9 Pro Plus “Martha”, I have to once again thank Hidizs as well as the good people who I’m in contact with at Hidizs. I have never once been asked to skew my words to reflect well on the S9 Pro Plus and I’ve never been offered any money in exchange. Just a handshake and an understanding that we will let the chips fall where they may. This is comforting and shows a lot of how Hidizs believes in their products to subject them to the scrutiny of a subjectively objective review. So, thank you so very much. I also want to thank anyone who took the time to read any words that I’ve written about the Hidizs S9 Pro Plus. I really do hope that I can help you with making a purchasing decision. After all, it’s all about you, the reader. Different Perspectives
As I do in every review, I really do hope that you check out other reviews from other folks. It’ll greatly help you in making an educated decision. We are all very much different in many ways, from our likes and dislikes to the gear that we have at our disposal, to the library of music we enjoy, to our actual ability to hear the music. So many variables to take into account. I think the biggest factor as far as differences from one person to another is the fact that we all haven’t been down the same journey in audio. Think about it. It’s true that what’s good for me… may not be so good for the next reviewer. So do yourself a favor and check out other perspectives from other great people in the hobby. Please take good care, stay as safe as you can and always… God Bless!
By Chris Love
KBear KB01 Review
KBear KB01
Intro
Hello, this is my full written review of KBear‘s latest budget priced iem, the KBear KB01 ($35). I have had around a month of listening to this set and I have to say that the KB01 is going to compete very well against the competition. I have reviewed a number of KBear iems over the years and it has been somewhat of an up & down road. I’m sure we all would like to see KBear rise again to the place they once were amongst the other big time audio brands that float around the budget space.Recent reviews
Very recently I reviewed the KBear Ink MK2 (Ink 2 Review HERE) and I was pleasantly surprised. It was a true upgrade over the original KBear Ink (Ink OG Review HERE). I also reviewed the KBear Dumpling (Dumpling Review HERE), KBear Rosefinch (Rosefinch Review HERE), KBear Quinglong (Quinglong Review HERE), KBear Storm (Storm Review HERE), and KBear KW1 (KW1 Review HERE) among many others. To be honest, each set performs pretty well in their respective price points but that is seriously up for debate. There have been mixed feelings about their iems of late. One common thread amongst all of these sets is the fact that they all have some low-end thump. They bump! Now, this latest entry (KB01) is a slight deviation to a small degree in this area, but it also seems that KBear was looking to create a more mature sound this go ’round.I want to thank KBear for providing the KBear KB01. It was very kind of them to do so. I have a lot to say about this latest budget set. The KB01 has many good qualities to its sound which may just rival some of the best in the price point. I’ve had plenty of time (1 month) to get to know this set and I feel I have a good handle on the sound. With that said, let’s get into it folks… The KBear KB01…
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Fiio UTWS5 / iBasso DX240 / Shanling M6 Ultra / Hidizs S9 Pro / Ifi Go Blu / Moondrop Dawn 4.4
Gear used for testing
–KBear BT5–Fiio UTWS5
–Ifi Go Blu
–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
HEREFull Review can be found HERE
Packaging / Accessories
Unboxing
This will be rather short. Not much to really say about the unboxing. The KB01 comes in a small box. Open that box to reveal the earphones themselves which rest inside of some cardboard cut-outs. Under the earphones you’ll see the cable (tied up) and you’ll also see the eartips in three separate baggies. All things considered the KB01 unboxing is exactly what it should be. If anyone was expecting more… well… why? This set is $35…nuff said.
Cable
The provided cable is a basic budget cable. Do not expect much in the packaging folks. It’s usable but if you have another cable laying around it may make sense to you to swap this one out. Especially if you are going to be using balanced sources. Not that it isn’t a decent cable, because it’s fine. To be exact it is a very usable 3.5 single-ended, 2-pin, 4-core 6N OFC copper cable. It’s all black, tightly braided too. As for myself I swapped cables for the 4.4 balanced metallic brown Letshuoer cable that came with the Letshuoer D13. Obviously, I had to swap out cables for use with my balanced sources and to make use of the KB01’s scaling ability. However, for any single ended use I used the included cable, and it worked as intended. It may be wise to pair the KB01 with at least an SPC cable, but this is certainly not a requirement or even needed. The included cable isn’t bad at all folks, just not very aesthetically pleasing to the eye.
Eartips
KBear actually provides quite a few eartips with the KB01. They add in the package three sets (S, M, L) of white silicone tips, three sets (S, M, L) of some narrow bore gray & red-stem silicone tips, as well as three sets (S, M, L) of some dark gray narrow bore silicone tips. I began looking at the tips a bit closer and it seems that each set of tips is basically similar in almost all ways except the color. Same bore size, firmness of flange, stem firmness, nozzle length too. Perhaps there is very finite differences but not enough in my opinion. These were somewhat of odd choices to include into the packaging but I’m not complaining. Folks, I don’t think that narrow bore tips are the best choice, at least for me. I actually found that shallow fit wide-bore tips made the most sense. I used the JVC EPFX10’s which definitely opened up the top end to a degree or I used the KBear 07 tips. By the way, why in the world is KBear NOT INCLUDING the KBear 07 tips inside of every single earphone? Anyways, I think that semi-wide or ultra-wide work the best for me but I’m not you so… your wholly subjective “mileage” may vary.
Build / Design / Internals / Fit
Build Quality
As far as the build quality of the KBear KB01; I think this set is built extremely nice. Please try to remember five years ago and the cheap and plasticky, chinsy and sloppy type of builds to sets which cost around $35. Do you people remember?! Okay, now look at the KBear KB01!! It’s freaking beautiful in comparison. I think that we as a community are so warped and tainted from the competition within the Audioverse of late that we can’t even see how good we have it. I heard a review of the Kiwi Ears Cadenza (which is built almost identical) and the reviewer was proclaiming that it isn’t anything special…. Whuuh?? Are you serious?? The KB01 it is built by way of 3D printing using medical grade resin and there isn’t a glue spot, burr, jagged edge or miss-alignment… Anywhere. The KB01 is very light (4 grams), feels like nothing in the ear and has a medium long nozzle. By the way it appears they used stainless steel on the nozzle too. This set is built very well folks.
Design
This is one of the highlights of this set. Truly it is a gorgeous option at this price point. If you are like me and you enjoy when products actually look dope as well as sound dope then like me, you’ll like the KB01. You can see the swirling pattern on the faceplate with the white KBear logo proudly sitting in the middle. The pattern on the faceplate is very close to the Cadenza in design. The KB01 comes in blue, red, & gold. Obviously, the set I’m using is the gold set. I think it’s a gorgeous iem friends, I really do. Within the price point we have a mountain of good-looking sets anymore, so it isn’t as amazing as it once was. Still, I can look past that and see the KB01 for what it is… Dope!
Internals
Inside the internal cavity, KBear opted for a 10mm Dynamic Driver with a Beryllium-Coated Diaphragm. Clearly KBear did not go through the painstaking process of creating an actual Beryllium Driver, but it’s nice to at least see that they chose a nice material which can provide nice auditory capabilities if implemented well. Especially when fed properly from a decently powerful source. Beryllium seems to provide a bit more transient quickness, punchiness and usually a Beryllium Driver can offer a certain snappiness to the sound. For sure this isn’t always the case as we’ve certainly seen Beryllium drivers not very well executed. Despite that, it’s nice to see at this price anyways and still gets my curiosity going. We shall see.
Fit
What a subjective and completely useless thing to add to a review. However, here I am telling you how the KB01 fits me. Understandably, this only applies to me because my ears aren’t your ears. The KB01 fits… pretty good. I do have to fiddle a bit to get that seal right. Switching to the shallow fit wide-bore JVC Spiral Dots did help tremendously. The medium length nozzle is one where I need either a very firm large sized tips that are longer, or I need very firm flanged large sized shallow fit tips to make for a good seal. Again, I used both types, and each provided a good seal. Any tips with a loose flange didn’t work at all. I needed them to be firm. Isolation is decent, nothing to write home about of course. These earphones aren’t designed for stage use and I don’t think casual listening requires perfect isolation. I’d say about average.
Drivability
Mobile listening
The KBear KB01 is a very easy to drive iem folks. Rated at 32 ohms and a sensitivity of around 109 db’s (give or take a couple) the KB01 worked flawlessly with my Fiio UTWS5 (AK4332 dac chip) when out and about. Good synergy too. Also, I used KBear’s own KBear BT5 and actually the KB01 sounded great. By the way, for $19 you will be blown away how good the BT5 can sound when synergized. Moving on. However, once I began using the IFi Go Blu (CS43131 dac chip) I found it hard to go to anything else for mobile purposes. Boy do these two sound great together while out and about or doing work around the house. Scaling to the Go Blu’s powerful 4.4 balanced was a breeze. Using the Moondrop Dawn 4.4 (also CS43131 dac chip) is where listening finally took to the next level though. The Dawn’s energetic and dynamic source tonality and big power shows how well the KB01 will adapt to different sources. The mildly warm KB01 and the neutral-ish Dawn seem made for each other.
Daps
As far as my dap situation, I own the iBasso DX240 (flagship level ES9038Pro dac chip) which has a more neutral leaning but completely energetic source tonality. I actually liken it to the Moondrop Dawn 4.4 on steroids. They sound somewhat similar. These two (KB01 & DX240) pair like a dream. Plus, the DX240 has mammoth power at almost desktop levels so it’s easy to see how well the KB01 can scale without any obvious distortion of the driver. The Shanling M6 Ultra (Flagship level AK4493SEQ dac chip) was equally as nice. However, the tonality of the M6 Ultra is a bit more velvet in sound which made the note weight a hint lusher and weighted. Both daps worked wonders in their own way. For me I do enjoy a bit more of a neutral leaning source with good energy and dynamics to drive the KB01.In the end
At the end of the day, I can tell you 100% that the KB01 can be driven to good fidelity with most any source. Now, if you have a decently powered dongle dac or something similar then you’ll be more than fine. You don’t need much, thankfully. Still, the KB01 most certainly does scale to both power (to a degree) and to the auditory ability of the source being used.
Sound Impressions
Now we get to the good part. The KBear KB01 has got a very nice Harman balance across the mix. Very much in line with some other iems that did very well in 2022 and 2023 which followed the same tuning curve yet with slight deviations. The KB01 comes across with a slight warmth and a tinge of neutrality and sounds very nice without any great coloration across the mix. Personally, I find the timbre on the KB01 to be very nice and one of its selling points. There’s an emphasis in the sub-bass as well as the upper-midrange but that’s about it as far as coloring is concerned. Not quite balanced but also not overtly saturated in any one area. To be completely honest, the KB01 is not the most dynamically expressive or engaging set within the subset of iems that it’s tuned and priced similarly to. Namely the Kiwi Ears Cadenza, EPZ Q5 etc. Certainly, the KB01 has many redeeming qualities though…I find transients to be well accomplished and perceivably pretty tight. You don’t have the long and drawn-out decay like some iems will have. I would Chalk it up to the fact that KBear is using a Beryllium Coated Diaphragm. Overall note structure is on the smooth side rather than crisp or sharp. The KB01 has a very nice timbre for the price as well as some good musicality. Perhaps not as energetic as some other iems in the price point but I find the KB01 to have decent macro-dynamic projection. Not as expressive as some sets in this regard but dynamically charged, nonetheless.
Between the 20’s (pint sized)
If this is all you’re going to read than I’ll quickly complete a pint-sized rundown of the sound across the mix. Beginning with the bass, there is an emphasis and the KB01 can bump pretty nicely. The bass is deep enough and rumbly enough though not basshead levels. The midrange has a bit of a recession, but it doesn’t really take away from the mids, in particular the vocals. They are still nicely highlighted. The treble is a completely non-fatiguing and non-offensive affair and there is a nice uplift across the midrange due to the rise in the treble. It’s actually pretty safe. However, I feel the treble is well tuned per what the KB01 is and per the tuning. The KB01 is not a detail-oriented type iem but in the same breath it certainly doesn’t lack in this area. Stage is about average across the board; separation is decent, and imaging is good. All in all, the KB01 is a great sounding iem.
Bass Region
The low-end is not super extended or ultra deep like a true basshead iem but I feel the bass has enough emphasis to satisfy some of the bass lovers. The bass has a nice sound for instruments which require some low-end oomph and decent punch. I find the bass to be pretty well separated with decent macro-details as well. Not completely clinical or forward but nice in its approach.Sub-bass
The sub-bass can dig moderately deep while not coming across too greatly emphasized in this area. Listening to “Groove” by Ray Wylie Hubbard as I always use this track to test the pitch, tone and haptic of the lowest of lows for review purposes. The KB01 has a small bit of vibratory sensation but not ultra physical in my mind. Certainly, there are plenty of iems which dig deeper, especially at this price point. The sub-bass of the KB01 is nicely controlled, not pillowy, and has an easy time making its way around complicated tracks.Mid-bass
The boom and slam are there, but again, this is not the type of set to blow your mind with bass boom. I feel it’s just enough. Beryllium coated drivers for whatever reason aren’t always the most pounding in their projection. The bass is definitely boosted (to a degree) but not really super dense. I say this all, but I actually enjoy the low-end just fine. Now, bass guitar could use a bit more fullness and energy, but I find kick drums do have that hollow resonant boom yet with a subtly soft edge to the note. “Billie Jean” by Weezer begins with some huge kick-drums followed by loud snares with a ton of energy. I wouldn’t call the KB01 flat, but I would say that the intensity isn’t as great as some sets. Is this a problem? Well, yes. To those who enjoy that intensity. However, many folks will be perfectly happy with the output of the mid-bass. It still bumps, just not over escalated and emphasized. I’ll make another quick note; the mid-bass doesn’t really bleed over into the midrange all that much. There is a slight warmth there but for the most part the mid-bass stays clean.Downsides to the Bass Region
The issue that I would find with the bass region is its lack of that strident and beefy or jarring type of boom down low for them Bass Bois. Let’s face it, the KB01 is in that price range where it isn’t out of the question to see some more raucous bass. Or a more fun low-end. The KB01 is a bit more articulate, mature and can be pretty speedy too. The bass also isn’t the cleanest in definition as there is the slightest bit of a pillowy timbre at note edge, at times. I will say that turning up the volume & getting some more bass friendly tips does add some low-end energy. For me personally, I think KBear did a great job, I really do. The bass is not one-noted, it’s even layered a bit, details are able to emerge, and it can take on speedy tracks to an extent.
Midrange
The midrange is actually pretty nice. Definitely not mid-centric or vocal-centric but also not so recessed that the midrange comes across bland. I hear a more neutral midrange with a slight bit more warmth in the lower half of the midrange. There is still a pretty nice presence in this area of the mix and due to the fairly well-balanced tuning I don’t find the midrange is dealt too horrible a recession. No one area of the frequency overtakes any other area of the mix and that goes for the midrange too. The sound comes across mildly organic, good energy, nice perceived transient agility, and pretty musical for a $38 iem. Resolution isn’t perfect but it still sounds clean enough to my ears. Also, details in this region really aren’t too bad depending on the track.Lower-midrange
The lower midrange mostly hosts male vocals. Listening with the KBear KB01 I don’t find males to be especially rich in note weight but on the same token they aren’t thin. Somewhere in between I would say. Better yet, I wouldn’t call them lush in comparison to other sets in the price point. The lower-mids are smoother than they aren’t, and male vocalists come across rich enough to sound authoritative and realistic… Respectively. Listening to a voice like Jason Isbell in the track “Middle of the Morning“, he has a very soft and svelte sounding voice that plays to the KB01’s strengths. However, listening to a voice like Avi Kaplan’s (who is far deeper in pitch) on the track “First Place I Go“, the KB01 doesn’t quite get you that resonant depth and his voice almost sounds a hair artificial. Understand that I’m being extremely picky here. For the most part males sound good, not recessed, not lacking energy, and not weak. They sound good.Upper-Midrange
Females on the other hand sit a bit closer to the listener. They sound elegant, uplifted and shimmery at times. I don’t hear anything piercing in this area either. There’s nothing that is offensive to the ear. There’s a nicely rendered pinna gain that is a very gradual uphill climb without that shouty energy… thankfully. Listening to Caitlyn Smith sing “High” sounds both clean and powerful through the KB01. Her voice begins the track mellow and sweet but slowly crescendos into a powerful ballad style when the chorus hits and the KB01 plays it very well. However, even a raspy country female like Grace Potter in the song “Good Time” comes across really well. Her voice is coarse, and you hear that roughness to her cadence. Her voice is forward enough, highlighted enough and the music around her voice is nicely separated. Definitely I enjoy females a bit more listening with the KB01. I could possibly use a little bit more note weight, but females sound more polished than males.Instrumentation
As far as instruments, I’ll be brief. Honestly, I don’t really hear any issues in this region when listening to instruments. The sound is separated well for a single DD in this price point. Piano sounds resounding enough. Maybe it’s a hint to uplifted on more energetic piano tracks but good. Strings have some bite with pretty nice harmonics to my ears. Percussion isn’t too bad either though most drums would thrive with a hair more low-end muscle. Snares have a nice “pang”, cymbals “chisk” with a full enough note body too. Violin doesn’t sound attenuated and has plenty of sharpness when it needs to sound sharp and smoothness when it needs to be smooth. Nothing stands out as artificial or grainy. Resolution isn’t the best in the world in this set but for $38 it isn’t bad by any stretch of the imagination.Downsides to the Midrange
As far as troubles in the midrange, I think the biggest issue I could identify would be note weight. Not that the KB01 is thin, but it certainly isn’t rich or robust. Also, in the upper midrange things can sound a tinge artificial or “not perfectly natural”. Again, not bad at all but something to make a note of. I suppose I could also go for a hint more macro-dynamic auditory expression or a more strident and effortless projection of midrange sound. The KB01 sounds even keeled and pretty mature for the price. Not flat or boring or lifeless but simply not energetic and full. Still a very good set at its price point.
Treble Region
The treble region kind of floats under the radar in the KB01. However, it’s actually pretty nice. Without question I would like a bit more energy in the highs on some tracks. Now, I wouldn’t call the treble rolled off or dark because the extension is decent and there is still good info into the high-highs. The treble simply isn’t an ultra-brilliant top-end that will add lustery vibrance to the whole of the mix. Not subdued, but also not the life of the party… So, to speak. The treble comes across more smoothly than it is crisp. You don’t have that satisfying bite and haptic body to notes up top. Of course, this set is $38 and a single DD, so maybe I need to check myself a bit. There is still plenty of lift up top for most any track and the treble never sounds out of place or non-coherent to the rest of the mix.Treble is just fine folks…
Listening to Ben Howard in the track “The Wolves” actually shows off on the KB01 a bit with some good palpable harmonics in this region. Note weight lacks that treble punch but I have no issue with the vibrance in this track and what the treble does for the overall tonality and timbre. Could it use more? Sure, it could. Would it help the rest of the mix? Probably not. In fact, it may be a detriment and make things even more thin sounding. Truth is, I think KBear did what they could with what they were working with and per the tuning they were going for. I don’t mind it as it is. In the song “Keel Over and Die” by Old Crow Medicine Show I am actually quite impressed with the speed of the KB01’s top end. I don’t just hear a mishmash of treble sheen like some sets present. Now, resolution could be a bit better, but all things considered… The treble is just fine folks.Downsides to the Treble Region
The biggest issue to the treble would be for treble heads who desire better resolution and a cleaner treble punch and bite up top. The projection of treble notes isn’t bad so long as the volume is not super low. I don’t hear anything grating to my ears or piercing up top and I don’t hear anything blatantly sibilant. I guess detail retrieval could be better but… $38…single DD. Folks, it is good for what it is.
Technicalities
Soundstage
The stage size of the KBear KB01 feels average to slightly above average all the way around. I know this because #1- I’m not blown away by the stage and #2-it also doesn’t feel cramped or hindered at all. That’s what I call average. Also, being average isn’t a bad thing. It is what we should expect. Average means it’s good, it’s listenable, and I won’t get distracted by any congestion. There’s nothing wrong with average. Width is good, height is okay and there is some depth. Like I said, the KB01 isn’t lacking in my mind. The stage is appropriate to the music and sounds nice. Average is good.
Separation
Separation slightly suffers from some slight (and I do mean slight) lack of resolution on “some” tracks. This is not an across the board “lacking”. I find that resolution takes a hit on complicated songs. The timbre and note structure are on the smoother side of the scale, so when you add in a litany of musical instruments and fast tracks you can get some blending of sounds. What the KB01 has going for it is that there isn’t one frequency that masks over everything else. Perhaps on super bass driven and bass heavy songs you’ll get some of that but by-and-large the KB01 stays in check and does a pretty solid job for the price. There is a caveat, however. That is… Some sets priced at or around the $30 to $45 price point can do it better. So anyways, separation is decent depending on the song. Easier to digest tracks are pretty good.
Imaging
Imaging is good. I don’t have a problem locating anything on a psycho-acoustically rendered stage within my mind space. Left to right is as it should be. Front to back is okay. I wouldn’t say the KB01 has mind bending layering abilities but there’s enough depth to perceive around instruments and voices and to place those elements on an imaginary stage. Honestly guys and gals… I didn’t have an issue. Again, the only real flipside to everything I just said is when listening to complicated songs. Furthermore, most budget single DDs aren’t going to handle these tracks perfectly either. Of course, there are exceptions, but most will struggle.
Details
Detail retrieval isn’t bad. It’s above average. Transient attack and decay are on the quicker side from what I can perceive. It sounds as though notes don’t hang around and have more of an expedient replay. Resolution isn’t perfect but the KB01 makes up for it with nice handling from the driver and a more balanced Harman type tuning. I feel that the KB01 is most definitely NOT a detail monster. It wasn’t tuned to be. I don’t feel the KB01 can illuminate the real finite and miniscule details within a track as well as some. However, just as easily I can say that the KB01 doesn’t do a bad job highlighting the minutiae within a track and does better than many sets. More macro than micro but… There’s still some micro. Not bad.
Comparisons
Kiwi Ears Cadenza ($35)
The Kiwi Ears Cadenza is one of those iems that took over the market for a short time but has also remained deeply entrenched in the argument of “best in price point”. I actually reviewed the Cadenza earlier in the year and gave it very high marks (Cadenza review HERE). There are more than a handful of sets which fight for supremacy in the relative price point and without question the Kiwi Ears Cadenza will represent one of those spots. The Cadenza also has a single DD with a Beryllium Coated Diaphragm, just like the KB01. The shape is very similar to the KB01 as well. Both sets are made beautifully with an all-resin build. Both sets have a swirl pattern with different contrasting colors. There are a lot of similarities here. Of course, there’s some differences too. However, don’t judge by the frequency graph I’m sharing below because what you actually hear doesn’t completely reflect what the chart says.
Sound Differences
Beginning with the timbre, I find the Cadenza to have a thicker and warmer type of note body across the mix. The KB01 simply comes across a hint thin in comparison. I say that but I also wouldn’t consider the KB01 a “thin sounding” iem. Just… thinner. The Cadenza has a deeper sub-bass and a bit more slam in the mid-bass while coming across just as clean as the KB01 (to me anyways). The midrange of the Cadenza is of course thicker, but I find the KB01 may have a bit better separation. The Cadenza is warmer and has a hair more vibrancy in the upper midrange. The treble area has more shine and extension (by a small degree) on the Cadenza while the KB01 is a bit more laid-back. Technically speaking, the stage of the KB01 sounds wider by a hair yet the Cadenza has a bit more depth. Detail retrieval goes to the KB01 in the midrange but the Cadenza in the treble. I would probably say that resolution as a whole is a bit better on the Cadenza too. Transients are a bit snappier on the KB01.In the end
Honestly folks, between the two sets I find the Cadenza simply more energetic and livelier. The Cadenza is more fun too. KBear made a valiant effort and really tried to dial in the tuning to match some of these other Harman tuned sets. I’d say they did a nice job. It’s a good set. Just a hair more balanced than the Cadenza which comes across as a bit more flat and less dynamically expressive than the Cadenza as well. Both sets are very similar in almost all ways, and I don’t think owning both makes total sense. Unless of course you love to collect. In the end, if you would’ve liked to have seen the Cadenza with a hint less vibrancy and bass than I’d say the KB01 is your jam. Both are great at the price.
BGVP P05 ($49)
I recently reviewed the BGVP P05 (P05 Review HERE) and found that it was easy to be impressed with this under $50 overachiever. BGVP went crazy and added both tuning nozzle filters as well as back vent filters to switch up the sound to your liking. I’ll be perfectly honest, the P05 is a bit out of the KB01’s league in many respects but they aren’t so far apart that it doesn’t warrant a quick comparison to better explain the KB01. The P05 is a 10 mm single DD with a PU+Ceramic Diaphragm and an inventive internal cavity. The build is exceptional looking very reminiscent of some Tin Hifi sets, which if you ask me are great looking all alloy iems. The P05 leans warm/neutral, it’s very clean and very resolute and replays my music close to accurate. Also, I used the “Silver rear vent and the Gold front vent” when conducting the comparison. You can see the graph comparison using these filters below. Let’s take a look at some differences.
Differences
To begin, both sets are built well but the P05 is a step up with an all metal (aluminum) material. Both sets look very nice as the P05 has a very modern & industrial looking design language yet still remains fresh looking too. The KB01 is just as nice yet they are instead made of all resin. The P05 is definitely much better for those with small ears, though neither set is large. The P05 has much better accessories and feels a bit closer to premium for the price point. There’s about a $10 price difference give or take a couple bucks as well. The P05 leans a bit cooler in sound with a more balanced take on my music. The KB01 is the thinnest of hairs warmer in tonality. Both sets are pretty easy to drive, and both play nice with most sources.Sound Differences
To start, the P05 has better resolution across the board with cleaner note definition and also has better detail retrieval as well. The bass on the KB01 bass region has a bit more sub-bass growl and rumble but it is very close between the two. Mid-bass emphasis and slam also is a bit greater in the KB01. However, I find the P05 to be less fuzzy at note ends, better defined notes and better separation in the bass region. Basically, it is a more mature or audiophile type bass. The midrange on both sets sits about the same place in the mix. The KB01 just isn’t as resolute in this area as the P05 keeps it clean folks. However, the KB01’s note weight is a pinch thicker. The treble region is not overly emphasized on either set and both have a laid-back treble. Still, I would say that the P05 has a bit more bite in this area as well as extension. Technicalities all go to the BGVP P05.In the end
When comparing these two sets I don’t know if this quick comparison format really helps. With that said, both of these sets compete very well. The main differences between the two are really cleanliness and build style. The P05 is simply more pristine in its delivery, and it is very well evident when comparing. Another main difference is the macro dynamic expression of the P05 is a bit fuller and more alive… so to speak. There’s more energy and vibrance in the P05’s projection of notes. You could make an argument that the KB01 has a slightly more fun sound, if by “fun” you mean “a hair bassier”. That’s just me throwing the KB01 a bone though. Honestly, the P05 does separate itself here and the price difference is certainly justified in my mind. Spend a bit more and get a very clean and more polished version of a similar tuning. Of course, the P05 can also change the sound to a degree with the filters too. Both nice sets but the P05 shines a bit more.
Is it worth the asking price?
This is very easy to answer. Absolutely the KBear KB01 is worth the low price of $38. This is a very easy answer for me anyways. If a shop near you only has the KB01 in the price point, or the online shop… Get it. It’s a very well-done set. The biggest issue of the KBear KB01 however isn’t the price, the build, the look or the tuning. No, no, the biggest issue of the KBear KB01 is the sets being sold within its same price point. The better question would be, “What’s the best set to purchase at the price point of $30-$45?”. That’s the real question. In fact, the biggest drawback to the KB01 are the sets it fights against. It’s bad enough that I stopped at one comparison for this review.The competition is real
There are so many folks! The Reecho SG-01 Ova (Mahir’s SG-01 Ova Review HERE), the OG SG-01, the EPZ G10 (Review coming soon) and at times (if on sale) the EPZ Q5 (Q5 Review HERE), QOA Gimlet (Gimlet Review HERE) Fiio FD11 & Fiio FH11. There’re also many KZ sets like the KZ D-Fi (D-Fi Review HERE), the CCA Duo (Duo Review HERE), the KZ X-HBB PR2 (PR2 Review HERE) among a few others. And then you have some other beasts of the field in the Kiwi Ears Cadenza that I just compared (Cadenza review HERE), the BGVP P05 (P05 Review HERE), and the Simgot EW200 (Mahir’s EW200 Review HERE). I promise you folks, I could make this paragraph much longer. I’m stopping because it is annoying gathering all of these links. Lol. I do it for you, remember that. Still, none of these sets can take away what the KBear KB01 is and how good it is for the price. I’ll leave it up to you to do some of the leg work in deciding what works for you personally. However, let’s look at why the KB01 is worth it.The Why…
For one, look at this all-resin shell that has zero issues or deformities and perfectly smooth, small, light, and durable in hand. Look at the aesthetically pleasing design, how dope would these Lil Baddies be strolling down the street? I’ll answer that for you… Dope! Still, at the beginning and at the end of the day, the reason we purchase earphones will always revolve mostly around the sound. Thankfully the KB01 sounds damn good. The bass is on the tighter side and there is still some decent thump there, but it doesn’t muddy the mix, at all. The midrange isn’t too recessed and there is nice vibrancy and decent separation. The treble is completely non-offensive and yet still will provide some lift up top and slight vibrancy. The KB01 is a good option at this price folks, that’s the absolute truth. Now, will it fit your perfectly subjective and individualized sound preferences… Who can know but you? Yes, the KBear KB01 is well worth the $38 that KBear is asking for.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the KBear KB01 ratings below, that would be $30-$45 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $30-$45 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.4-Look: 9.2
-Accessories: 9.0
–Overall: 9.2
Sound Rating
-Timbre: 9.4 The timbre and tonality are fantastic.-Bass: 7.9 It just needs a hair more in quantity, otherwise great!
-Midrange: 8.9 The mids are very nice on this set.
-Treble: 8.0 Sounds fine but could’ve been more polished.
-Technicalities: 7.9 Overall technicalities are decent.
–Overall: 8.4
Ratings Summary:
I feel like my ratings kind of speak exactly what I wanted to say here. There isn’t much that is missing in translation which is unlike nearly every review I complete. Which usually involves me explaining my reasoning so that I don’t get DMs from you folks concerning my horrible ratings. Not joking. Hence, why I even have a “Ratings Summary”. That’s okay because it gives me a chance to further dial in what I want to say from a different angle. I do feel the “Timbre & Tonality” are probably the best quality of the KB01. Maybe the Midrange will have something to say about that, but we are really splitting hairs. The KB01 is a good set. An “Overall” of an “8.4” is a darn good score against all and any sets between $30 and $45!
Conclusion
To conclude my full written review of KBear’s latest budget iem I have to say that this set is a great sign for the storied Chi-fi brand. I’ve enjoyed my time with this set. As a stand-alone set, the KB01 is a very well done iem across the board. From the build to the design, to the sound we have a very good offering that I’m sure will pique the interest of many hobbyists. For the low cost of $38 the KB01 is very good for the price as price to performance is high here. With all that said, I want to thank KBear for providing this well-done set-in exchange for a feature at Mobileaudiophile.com. Thank you very much.Other perspectives
Something I always make sure to add to the end of the review is that I implore you to seek out other views and opinions about this set. We are all very much different, even those who review. What’s good to one may be horrible to another and that’s just the truth. It makes good and wise sense to check out other thoughts before shelling out the money for this set. $38 is a ton of money for so many people in our world and I do want to make sure that you have a good and educated leg up on finding the right set for your life. That should involve as many thoughts as you can read, listen to, or watch. Lastly, I thank you, the reader. Thank you for readings and clicking the link, it means a lot friends. Please take care, stay as safe as possible and always… God Bless!
Soundpeats Air4 Pro Review
Soundpeats Air4 Pro
Intro
This is an exciting set that I’m reviewing today from the good people of Soundpeats, the Soundpeats Air4 Pro. Soundpeats seems to just get better and better with every true wireless iteration of each series, and they do so at a very quick pace. I think it’s fair to say that they’ve got this tws thing down. I want to thank Ellen as well as Soundpeats for providing the Air4 Pro in exchange for a full review & feature at Mobileaudiophile.com.Soundpeats
Friends, Soundpeats has been around for a long-time. At least in terms of true wireless earphones that is. In fact, I’ve reviewed a number of them myself and can attest to the continued success in every set I review. All very well built with great functionality and features and all of Soundpeats sets hover around the top in class moniker. For instance, I reviewed the Soundpeats Capsule 3 Pro (Capsule 3 Pro Review), Soundpeats Air3 Deluxe HS (Air3 Deluxe HS Review), Soundpeats RunFree Lite (RunFree Lite Review), Soundpeats Mini Pro HS (Mini Pro HS Review), Soundpeats Engine4 (Engine4 Review) as well as the Soundpeats Air4 (Air4 Review). Each and every one of these sets perform very well for their intended purpose and usage. I feel the Air4 Pro is no different.The truth is I’ve been sitting with this set for a very long time now and I have grown very fond of the Air4. I find the Air4 Pro to have a very stylish look, a nice build and great functionality. With that said, let’s break this down further. The Air4 Pro…
Gear used for testing
-Samsung Galaxy Z Fold 4-Shanling M6 Ultra
Full Review can be found HERE
Packaging / Accessories
Unboxing
Well, this will be rather quick. The Air4 Pro comes in a smaller box that is normal for a Soundpeats product. Nothing too fancy but not cheap. Once you open the box you will be greeted with the handsome looking case which is wrapped in cellophane. Once you lift out the charging case and look under it, you’ll find the eartips as well as the short charging cable. That’s about it, nothing too crazy to report.
Eartips
The eartips provided by Soundpeats are actually of pretty nice quality. They give you three pairs (S, M, L) of shallow fit silicone tips. Unfortunately, I could. Not for the life of me get a good seal with these tips. I find that almost all true wireless eartips will give me some fit issues. This is where I want to give Soundpeats a huge round of applause
!! Yes, I just used emojis in my review. Let’s never speak of this again. Anyways, the reason for my cheering is that once again… the wonderful engineers or designers of the charging case saw to it that the Air4 Pro has the unique ability to house just about any 3rd party tip that I use! With the exception of very long and deep fitting tips. Because of this, I actually was able to use a pair of wide-bore tips that gave me a perfect seal. Also, these tips really opened up the upper mids while adding air into the sound up top simultaneously.
Build / Design / Internals / Fit / Case
Build Quality / Design
This is one of many areas that Soundpeats seems to always excel in, that being the build quality. The Air4 Pro is made out of a nicely dense and hard plastic that doesn’t feel cheap in hand at all. The Air4 Pro is actually a stem style tws earphone and I love how they hug my ears so well. My pair actually came in white, but you can also get them in black. The look is awesome! I really mean that. I am very particular in what I will allow myself to go out and about wearing and the Air4 Pro fits that bill easily. This type of stem style isn’t like some antennas protruding from your head. Instead, they perfectly run the contour of the ear and sit perfectly. Also, the design is simple, sleek and classy. The touch area is the logo which is easy to feel. The nozzle is rather short so tip rolling may be necessary to you. There are very few issues that one could drum up over this set folks. Honestly, they are one of the better-looking pairs of tws in the price point.
Internals
Soundpeats chose upon a mammoth single Dynamic Driver of 13mm. I have no idea what the Driver material is. Inside you have the SOC chipset among many more high-tech gadgetries to make the Air4 Pro what it is. Soundpeats also added a number of mics which I’ll comment on further into the review.
Chipset
This is where things begin to get interesting. Soundpeats actually uses a fantastic SOC Chipset in the Qualcomm QCC3071. Truly a great chipset which has a whole host of advantages over previous chips or inferior chipsets. I will explain later in the “Features” section what all is included with this chip but will just let you know now… It’s a good one. Obviously, ANC is one key feature with Bluetooth 5.3 and Snapdragon sound Aptx-lossless.
Fit
Fit is always a very subjective and personal thing. For me personally, I don’t think the Air4 Pro could fit any better. Like I said earlier, the Air4 Pro hug my ears very nicely and the units themselves are so light that I forget I have them in. The fit is great, but I must mention again that I did tip-roll to some very wide and shallow wide-bore tips which makes getting a good seal pretty easy for me. I could probably venture to say that the majority of people should have no issue with the fit.Controls / Functionality
I won’t go into every control at your fingertips, but I will say that the Air4 Pro has a truly excellent response to finger taps. I really mean this and want to highlight it so that you, the reader, understands. The emblem on the top of the stick on the earbuds themselves happens to be the touch pad and it is so easy to find. Each finger tap is very responsive every time I tap, and I couldn’t have been happier with the functionality of the Air4 Pro controls. Now, you can control everything Straight from the earbuds. You have next track, but they excluded Back track for some reason. There’re also volume controls (yes!), game mode toggle, virtual assistant, answer/hang up calls, ANC toggle as well. Soundpeats have been at this game awhile and they know what we want… We want control! So, thank you Soundpeats! The non back track is odd though.Charging Case
The charging case is close to perfect. However, it is about as robust as a case in the price point. Nothing that will blow your mind. In truth the Charging case is the perfect size, in that it isn’t too large to fit well into a pocket. Also, it isn’t too small where you are seeing little battery capacity. Another thing that is fantastic is something I’ve already mentioned; most 3rd party tips actually fit inside the case! The case has a gloss white finish and is made entirely out of a fairly durable feeling plastic. A little about me; there isn’t a place I will ever go on planet earth that I don’t have a pair of tws in the little watch pocket within the front pocket of my jeans. Always! Thankfully, the Air4 Pro is quite literally perfect. The gloss makes it so very easy to take in and out and the size feels like it was meant to be specifically for that little pocket.
Case battery & features
It has been noted in the Soundpeats promotional material that the Air4 Pro’s case can get up to 26 hours of use. Now I don’t know how true this is, but Soundpeats rarely exaggerates specs like this. That’s over a full day friends! And that is good to see. There is also a pairing button on the case which is very beneficial as well and offers easy pairing. Trust me, you’ll love this feature the exact moment you need it.
Specifications
-Core SpecsBluetooth: V5.3
Profiles: A2DP/AVRCP/HFP/HSP
Chipset: QCC3071
Supported Bluetooth Codec: AptX Lossless/Aptx-Adaptive/Aptx/AAC/SBC
–Onboard Features
ANC: Up to 45 dB attenuationMics: #6 in total (Aptx Voice & ENC)
Multi-point Connection: Yes
In Ear Detection available: Yes
Gaming / Low-Latency mode: Yes
Soundpeats App: Yes
Touch Controls: Yes
-Battery
Battery Capacity: 35*2 mAH(Earbuds) 330mAH (Case)
Charging Time: ＜1.5H (Earbuds）＜1.5H (Case)
Charging Port: Type-C
Total Playtime: 26 hours
-What’s in the Box
–SOUNDPEATS Air4 Pro aptX Lossless Wireless Earbuds-Type-C Charging Cable
-Charging Case & Eartips x6
-User Manual
-Package
Single Earbud Weight: 4.53g
Charging Case with Earbuds: 38g
Control Type: Touch
Waterproof Rating: IPX4
Features
Note: Full disclosure, many of these features will be copy/pasted from my review of the Soundpeats Air4 Review to a lite extent. Thankfully, Soundpeats uses many of the same features which allows me to do so and save some time. Obviously if there are any distinctions or differences I will add or take away to reflect the Air4 Pro earphones. Snapdragon Sound
This is one area where you begin to see the fruit of having such a good Qualcomm Chipset. The QCC3071 chip enables the Air4 Pro to have what is called “Snapdragon Sound“. If you don’t know what this is I will try to fill you in as best, I can. Snapdragon Sound is an all-encompassing audio solution to bring lossless (bit-to-bit) sound replay as well as an entire infrastructure that allows crazy low latency for movies, videos and games as well as the most robust connection and high-speed connection too. There is a lot more involved but one of the best features is what Snapdragon Sound does for your music through Bluetooth. Truly it is a game changer once all the wrinkles are ironed out.Codec Support
The Soundpeats Air4’s come equipped with Aptx-Adaptive Lossless due to the integration of Snapdragon Sound which provides 24bit/96khz audio transmission. The Air4 also has regular Aptx-Adaptive, Aptx, AAC & SBC. To be honest any of these Codecs will provide good quality sound. However, how good the sound is really all depends on how the driver and components inside the Air4 Pro are implemented. For instance, IOS (Apple) users only have the option for AAC codec which has a substantially smaller bit rate (256kbs) than the others, still it sounds very good. I know this because I used this set with my iPad and all sounds great. The point is, Soundpeats did a good job making sure the Air4 sounds good first.For a quick refresher so that you have an elementary grasp on bit rates “SBC” codec provides up to 328kbs & 16bit/44.1khz audio at best. “AAC” provides up to 256kbs & 24bit/48khz audio. “Aptx” is where we start to see some higher quality Audio at 356kbs & 24bit/48khz audio. Moving up to “Aptx-Adaptive”, it has a scalable bit rate from 279kbs-429kbs & 16bit-24bit/48khz-44.1khz. “Aptx-Lossless” is an entirely different beast which scales between 140kbs to over 1mbs, which is well over CD quality and operates at a bit-perfect rate. Aptx-Lossless will scale between these bit rates depending on the outside environment to allow the best connection and superior listening in all environments.
Adaptive-Hybrid ANC
One feature also found on the earlier Air4 tws was ANC (Active Noise Cancelation) which we also find here on the Air4 Pro. Now, Adaptive ANC is a bit different from regular ANC. Qualcomm states that the chip itself will decide the level of noise cancellation depending on the outside environment and does so in “real time”. Working off of six mics in total between the left and right earbuds this adaptive ANC is able to pick up noises from all sides of the listener. Combine that with Qualcomm’s CVC noise-canceling algorithm which I’ll cover later, there is some nice tech involved with this set. Soundpeats says you can get up to a 45db reduction in outside noises. This is quite nice.How well does the ANC work?
I have had a multitude of ANC true wireless iems and I have had a number that claimed that the onboard ANC worked as advertised (usually overhyped). I can say with 100% confidence that… most of the time, ANC is a complete gimmick. A selling feature and nothing more with limited ability to perform the function of attenuating the outside environment. Friends, please hear me when I say that the Air4 Pro has some of the best ANC I’ve ever used in a set. I am blown away how well Soundpeats did on this set! The only thing it doesn’t attenuate perfectly is high pitched noises. For instance, when my AC is running in my home, I hear none of the low rumbling but instead only hear a faint higher pitched sound of the air blowing. For the price that Soundpeats is offering I feel the ANC is a huge “Pro”. That is of course if you value ANC in your daily usage.
Call quality
As far as call quality, the Soundpeats Air4 Pro utilizes what I consider a breakthrough in voice quality with Aptx-Voice. First off, the Air4 Pro uses six mics in total and using the algorithm of Aptx-Voice I find voice calls are quite surprisingly awesome. Truly. I use this set for many meetings over Zoom or Teams and I have yet to get a complaint. Many of the people I’m in the meetings with know I review audio devices and they always tell me the truth about how I sound. I was told these are the best yet. Believe me when I say I’ve been through a ton of these earbuds for these meetings. Aptx-Voice works, and it works well.
Game Mode / Low Latency Mode
Another nice feature that I actually use daily is the “Game Mode”. Game Mode is basically a low-latency mode for use when playing games or watching videos. I found that the game mode works wonderfully for any video watching and for most games. The only game type that I have played that doesn’t sync up perfectly was many of the first-person shooter games. Really everything else worked great.Multi-point
Soundpeats also added in a feature that used to be unheard of in true wireless only a couple years ago and now seems much more prevelant, that is Multi-point Connection. It is a nice feature that you don’t know how much you enjoy it until it’s gone. However, it is a bit finicky on the Air4 Pro. Sometimes. There were times I’d have to pause the one device and play the second device to enact the connection. Those times were few and far in between though. Mostly the multi-point worked like a charm. I’d say they implemented it well. This is one of those features that really pays off when you need it or are very well used to it. Just trust me on that.Battery
Soundpeats states in their promotional material that you can achieve 6.5 hours of battery life from the earbuds themselves in a single charge. Of course, there’s a lot to unpack with those figures. Hour ratings depend heavily on listening volume, what audio codec you are using and a few other factors. For instance, using ANC “on” will bring that total down to roughly 4 hours. I haven’t done an actual real-world rundown on the battery life, but I can tell you this; I was able to last three days in my office without needing to recharge the case. So that’s plenty in my eyes. I don’t know how long you all are planning to sit with earbuds in your ears, but most of the time I won’t have them in for more than three hours at a time. Give or take. The one thing I won’t know until a couple years has gone by is how well the battery retains its ability to charge and to hold a charge. This is the one huge drawback of true wireless earphones. However, I never think about it and honestly, I’ve had the Soundpeats H1 since they came out around three years ago and it holds perfect charge.Capacity
The earbuds themselves have a battery capacity of 35mah and the case has a capacity of 350mah, so they are relatively decent sized batteries. I suppose it comes down to longer battery life or looks and comfort. Obviously adding a larger battery will increase sizes of both the case and earbuds. I think that even if you can get 5 Hours of battery life then that is perfectly reasonable and acceptable. With all that said, in comparison to other sets on the market (within the price point) the Air4 Pro is lower on average than some. Not a huge “con” but a “slight-con” nonetheless.Also, remember that much of the battery life will be greatly affected by usage. Using ANC for instance will decrease the battery life a bit more. Listening on higher volumes as well. Any feature which uses the battery to function will ultimately kill the battery a bit quicker. Also, Soundpeats negated the quick charge feature and the wireless charging feature on this set. Not an issue for me but some of you may be used to such features. Just a heads-up.
Soundpeats App
One of the best features involving any Soundpeats tws or wireless device is its ability to connect to the Soundpeats App. One of the easier to understand, simplest, and more functional apps out there, as far as wireless devices go anyways. It isn’t the most diverse and intricate app out there, but it gets the job done. I should add that if you are using LEAudio, you will not be able to connect to the app. You must first disconnect and reconnect using a different audio codec. Is witch to Aptx and I’m good to go. Moving on.First, you can obviously make firmware upgrades through the app. You can also play around with the EQ presets, of which Soundpeats provides nine different presets. Furthermore, you can also make your own personalized EQ changes through the Custom EQ and the beauty of that is your personal EQ settings save to your earbuds for good until you change them again. In the app you can toggle Game Mode, ANC Settings, toggle Dual-Device Connection, increase the volume (most of this you can do from the earbuds themselves) and you can reset the earbuds from the app too. I find the Soundpeats app to perfectly fluid and easy to use and it’s a great asset that really does separate Soundpeats from some other audio brands.
IPX Rating
The Soundpeats Air4 Pro comes in rated at IPX4 which is something we’ve seen time and time again from any set using ANC. IPX4 will be good for random splashes or moisture from sweat. You can even go running with this set in the rain if that’s what you are into. However, you cannot submerge the Air4 Pro into water, drop them in a swimming pool, puddle or toilet. I don’t know why I added that last watery environment. Moving on…EQ
One huge benefit of the Soundpeats app is the ability to EQ your true wireless earphones. Not all tws sets have this ability with a dedicated app. The huge “plus” in my eyes is that whatever EQ settings you change on the app, it saves those settings on the buds or wireless device you are using. This is wonderful folks. This means that any music app you listen to, whether it be a streaming app like YouTube Music, Spotify, Tidal, Amazon Music etc. Or if you listen to actual music apps which use stored music files to play like Poweramp, Uapp, Neutron, Hiby Music or Fiio Player etc. The EQ settings will save to your buds so that you may use it on any app or any device you are listening to. I realize that this isn’t a new concept and has been done for years now but it is worth mentioning for those who don’t understand it.EQ cont…
Now, Soundpeats actually provides up to ten presets in their app if you want to simply use already EQ’d settings. Those include Bass Boost, Bass Reduction, Electronic, Rock ‘n Roll, Folk, Treble Enhancement, Pop, Classical Music, and the Soundpeats Classic setting as well. They also added in an “Adaptive EQ” which will switch up the EQ settings for you, based on the type of music you are listening to and some other parameters like environment noise etc. All things considered I think Soundpeats knocked this one out of the park in providing the listener with many options to to tinker with the sound. Now, does the Air4 Pro absolutely “Need” EQ? No, it doesn’t, in fact this entire review will be based on stock sound, with some commentary about some of the changes I may make using EQ. I think in its stock form… the Air4 Pro sounds better than fine. However, it is always good to EQ to your own liking and preferences.Full Review can be found HERE
Sound Impressions
Note: Before I proceed, I’d like to preface the entire sound section with a few things. First, without question the sound ages well and gets better after some hours of usage. This large 13mm Dynamic Driver will reward those who don’t judge too harsh too quickly. Second, I listened using shallow fit wide-bore eartips for all testing. Third, I listened primarily to UAPP (USB Audio Player Pro) and Poweramp using flac or better files stored on my devices.The Soundpeats Air4 Pro comes across as a slight V-shaped set to my ears. This is of course without any equalization. The sound is warmer yet with nice energy to the sound for a tws and one of the better tuned Soundpeats products to date. The only real issue I have is not really an issue at all for many folks. That is, the volume is not the loudest. In the same breath, it also isn’t low either. If I had my perfect world, I’d like a few more volume steps. We want headroom! We want to turn the earphones down because they are too loud. I don’t know who “we” are in my little spiel, but the sentiment stays. Anyways the sound of the Air4 Pro is smooth over crisp, nicely weighted notes for a tws and a very cozy warmth that doesn’t come across as a veil.
Between the 20’s
The bass has plenty of oomph and rumble and can get much more “basshead” worthy with some EQ. However, using the Soundpeats Classic preset the bass is very fun and has enough boom to satisfy. The midrange has a little recession, but I don’t hear it being a very large detriment to the overall sound quality. The midrange is lush and rich but also pretty clean for what it is. The treble is slightly laid-back, safe, non-offensive. Again, you can EQ some more levity in the mix but also, I don’t think it necessarily needs EQ. The treble has some decent detail retrieval and comes across with a good emphasis and nice timbre. The sound quality as a whole is about as good as some of the better sets in the price point, I would say. Nothing that will blow your mind, but good. It certainly has areas that could use some EQ but for the most part it’s a solid tuning. Let’s dive in a bit more for each 3rd of the mix.
Bass Region
The bass region is (in my opinion) very nicely emphasized. Certainly, this is a set that has its greatest emphasis in the sub-bass region. Almost like a subwoofer in its expression. To be honest it sounds somewhat similar to something like the Truthear Zero. There is obviously less of a mid-bass rise than previous Soundpeats sets like the Soundpeats Engine4 or even the Capsule 3 Pro which is a nice tuning trend for Soundpeats. This frees up the midrange and cleans away some of the residual merkiness that can encompass the region. I also find the bass to be more guttural and deep yet retaining the cleanliness of previous sets. Possibly cleaner and more snappy bass, albeit less slam and boom in the mid-bass. You have an obvious mid-bass tuck and there are some distinct advantages to this. In the same token there’s some disadvantages too. Of course, I’ll say this over and over again; you can always EQ more mid-bass into the equation very easily and it will be saved to the buds.Bass Region cont…
I actually added about 3-4 db’s in the mid-bass region at 101/192/300hz which really added some weight to the bass, and I truly love it, no distortion even at high volumes. However, that is my personal settings. As far as the actual Soundpeats Classic preset I find the sub-bass to have a deep and nicely penetrating haptic vibration that I can feel. Not the quickest bass but nicely rendered. The mid-bass still has a moderate impact but nothing that will blow anyone’s mind. Again, the mid-bass tuck has its own rewards, and we will get into those.Real quick, listening to Too $hort “Get In Where You Fit In” I get a decently round bass drop that doesn’t come across pillowy or hollow. It’s a satisfying thump that is a necessity when listening to this track. Or “Damn It Feels Good To Be A Gangsta” by the Geto Boys is actually very nicely separated and doesn’t muddy the waters on the Air4 Pro. There is a melody which runs parallel to the bassline this entire song and the bass hits with some authority but also the rest of the song comes through loud and clear. Nothing veiled or blended really. It isn’t the fastest, tightest, deepest, or most robust bass in the world, but it is well established and relatively clean for a true wireless set. I really don’t hear a huge loss in overall boom from the mid-bass tuck. Both of these tracks sound good on the Air4 Pro.
Downsides to the Bass Region
If I were to list some downsides, I would say that surely not everyone wants such a beefed-up bass. Even with tws. Some want a more agile low-end that can facilitate quicker passages of music easier. Personally, I love the bass on this set. I do think it’s the most organic and realistic bass from the company. Also, the low-end can flat out BANG when you give it some extra EQ’ing.
Midrange
The mid-section of the frequency is one that I quite enjoy from a true wireless product. The sound is cleaner than most without any hint of a veil. There is also some semblance of air to the sound and even decent separation.Lower-midrange
Beginning with the lower midrange I find male vocalists to have a slightly less robust sound and maybe a hair recessed in this range. However, I do like the presence of male vocals, and they come across very defined for a tws. Listening to “Sand in My Boots” by Morgan Wallen I am very impressed with the way the Air4 Pro replays his southern twang. I don’t hear that metallic sharpness to his voice which can so easily come through. Males generally have a lean-lush presentation on the Air4 Pro. Meaning, they still have good density and weight, but not to the point that I’d call them “thick” or flat-out “rich”. The lower midrange has a more pristine sound much like some other wired earphones of the last couple years in which the bass doesn’t leach I to the midrange but rather stays out of the way leaving better note definition and better resolution.Upper-Midrange
Females in the upper midrange have a more forward stance in the mix. There is the slightest bit of shimmer that gives off a nice energy to the sound. Females like Taylor Swift in the track “The 1” have a very gentle and nice sounding timbre and the Air4 Pro picks up her cadence and inflection perfectly. The sound is definitely more organic and natural than it isn’t. Instruments also come across pretty naturally and I find the drawbacks of Bluetooth don’t really come across in the sound to some great degree. For instance, the secondary harmonics of strings, piano, percussion etc. actually sound passable. Cymbals have a nice “chisk” and decent body to them, snares have a very snappy and punchy “pang”. Overall, I’d say that Soundpeats certainly upgraded the sound in my opinion from precious Soundpeats products.Downsides to the Midrange
The midrange will likely not appeal to everyone, of course nothing will appeal to everyone. However, for those who desire a much warmer, density rich and weighted midrange they will likely not completely find that here. Obviously, things can be EQ’d into the sound but even with EQ you won’t quite get there. Also, I’m sure there will be those folks who want a more analytical sound with cleaner details. I will say this, the Air4 Pro gets about as much as you can sonically out of the asking price. You can’t please em all, but also, I THINK Soundpeats will please the majority.
Treble Region
The treble comes across pretty laid-back out of the box. It isn’t the most energy driven and bright. Definitely not brilliant and sheened out in lustery treble energy and sprightliness. The top end of the spectrum leans more to the safe side. Great for long listening sessions. I still find the treble region to bring enough of a rise up top to lift the entire mix and balance very well with the rest of the mix too. Let’s put it this way, the treble is emphasized enough to offset the larger bass of the Air4 Pro. I’ll also add that the top end isn’t devoid of detail retrieval but also isn’t some detail king either. In fact, I think the Air4 Pro is above average in this area for true wireless earphones within this price point. The treble is able to keep up with more complex treble arrangements and the timbre is not bad by any means. It actually sounds quite nice. Tws have come a long way folks and the fact that I’m not ridiculing this set is proof of that. The Air4 Pro sounds good in the midrange.Example
Listening to Billy Strings in “Secrets” and the rapid-fire banjo play comes across surprisingly nimble on the Air4 Pro. I can hear each note, the rise and release, the decently defined notes, the separation. The treble may slightly lack some fullness to it but I mostly find it very well done. I don’t hear a thin and anemic treble that is either dry or analytical, tinsley or metallic. I don’t really hear any sibilance and I don’t hear any peaks that will make you want to rip your ears off. These are all great qualities friends!EQ fix
Another thing I noticed about the treble region is that it is nicely smooth but could use a bit more body to notes. I wouldn’t say it lacks treble density either, but it simply isn’t the most physical treble. So, it’s safe and not ultra brilliant, I realize this sounds bad but let me introduce you to true wireless earphones. This is common, especially in stock settings in which the set has an onboard (in app) equalizer. It makes sense for the company to play it somewhat safer in the stock settings. Using EQ certainly helps. Personally, I did add a few db’s into the presence region from 4k to 6k which does provide a nice lift to the sound from the stock settings. A bit more liveliness and vibrance I would say. It certainly isn’t necessary though because the stock settings are well tuned to begin with.Downsides to the Treble Region
I wouldn’t say there are really any huge drawbacks here. Perhaps some folks would like a treble with a bit more brilliance out of the box, maybe. Of course, one could always jump into the app and add or subtract up to 6dbs to make the sound work for them. You could also say that the treble isn’t the most detailed out there and you wouldn’t be wrong. It’s more musical, non-offensive, no force resolution up top. All in all, the Air4 Pro is pretty nice, it won’t blow anyone’s mind, but they will compete at their price point and that is what we should expect.
Technicalities
Soundstage
The soundstage is actually pretty open and decently wide. Try to remember that true wireless earphones don’t have the exact same components internally involved with the tuning. Much or all of the tuning is done through a DSP and so the soundstage must be graded on a curve. For a tws set the Air4 Pro has a very nice sounding stage. I don’t hear anything off, as I do so often on tws sets. We have nice dimensions in width with sound that reaches past my ears. We also have about average height, which is good enough. Nothing special there. Depth is also decent as there is some layering of sounds from front to back that I hear as well. In my opinion the Air4 Pro has a nice stageSeparation / Imaging
The quality of separation of instruments and voices when listening to the Air4 Pro will likely come down to the track you are listening to. This is a 13mm Dynamic Driver operating off a DSP and the sound is decently smooth, rich, and lush for a tws. Generally, these attributes equate to a more blended sound on cheaper sets. Not all the time of course. I suppose this is one of those times. The Air4 Pro actually do a decent job of separating elements of a stage and even better at the imaging of those elements. Without question that in highly complicated tracks or tracks with a lot of bass boost or treble sheen it will be harder to distinguish the separation. Imaging on the other hand is the same but to a lesser degree. However, I still would put this set near the top of its respective category and price point. Not the best but very good for what the Air4 Pro is.Details
I wouldn’t refer to the Soundpeats Air4 Pro as a detail monster. Soundpeats didn’t tune this set to be that, thankfully. Who wants an analytical and dry sounding true wireless? By-&-large the majority of folks rep’n the Air4 Pro’s, or any tws for that matter would prefer a bit more musicality. You are already losing a bit of acoustic info and data due to the limitations of Bluetooth. Granted, there are those who enjoy that thinner and flatter profile. So, forgive me if I alienated some of you folks. In the case of the Air4 Pro, detail retrieval is decent so long as some parameters are met. I find using LEAudio sounds a bit more resolute and cleaner. I also would advise not to judge too harshly when listening to complicated tracks as well. There is some slight blending happening at times with more congested music, bass dominated music etc. Still, I really don’t think the Air4 Pro are bad at retrieving the minutiae within my music. Maybe average.
Is it worth the asking price?
For anyone looking for a stem style design with ANC, under $100, and more of a V-shaped sound signature I would say that the Soundpeats Air4 Pro would be my first recommendation. Especially if you value good ANC. Folks, it is one of the best of this style under $100 that I’ve had the pleasure of listening to and using on a daily basis. The design is obviously pretty polarizing being a stem design. Not everyone loves a stem. However, it may be polarizing but stem style designs are also very popular so there are plenty who can appreciate the great design language of the Air4 Pro.The Why…
For one, the build and design is one of Soundpeats best yet. It’s simple, modern, slick & sleek and is not too bulbous, too long at the stem or too awkward of a fit. It really is perfect for my ears and I’m sure the majority of hobbyists as well. They look cool, built pretty durable but also the Air4 Pro has a ton of functions that actually work! Very well too! They aren’t just gimmicks or sales pitches that will let you down in real life. No sir, the Air4 Pro has many features that work, just as Soundpeats said they would work. I find that reassuring. The final good reason as to why the Air4 Pro is worth every penny (especially at the sales price) is that they sound good. Now, the sound is not some amazing example of tws technology but instead the Air4 Pro is good, passable and will decently compete for your dollar. The bass is big and reasonably tight, fun, the mids have good presence and the treble is elevated enough to bring some shimmer, but dialed back enough to be non-fatiguing. Hopefully you have a device that can play Snapdragon Sound or Aptx- Adaptive (it does make a difference). No the sound won’t be the same as it’s wired counterparts, but the sound quality coupled with the features I’d say the Air4 Pro is worth the money.
Ratings (0-10)
*All Ratings are given per the price point as well as the style of earbud. In this case I am rating the Soundpeats Air4 Pro against the field of ANC stem-style tws earbuds under $80 US. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make a set of tws what it is. A “5” is exactly average, and please take into consideration the “lot” of iems these ratings are garnered against. Under $80 US ANC stem-style earbuds are less in abundance as it’s not a very broad scope of tws earbuds. So, seeing something like a 9 for instance is pretty understandable. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
Build- 9.8 Very nice build for the price.Design- 9.5 I don’t usually prefer stem style but I really like the design.
Features- 9.0 They left out a couple features but awesome for the price.
Feature function- 9.9 All the bells & whistles work very well imo.
–Overall Rating 9.6
Sound Rating
Timbre/Tonality- 9.5 Nice timbre throughoutBass- 8.8 Subwoofer style bass that sounds. Fun & robust.
Midrange- 8.7 The mids are clean and have good presence
Treble- 8.8 The treble is elated yet not overcooked.
Technicalities- 7.4 Most technicalities are great for the tuning.
P2P- 9.0 Price to performance is fantastic on this set.
–Overall Rating 8.7
Ratings Summary
The pool of tws stem style true wireless earphones with ANC under $100 is not the vastest of selections. There are some bangers though. I write these reviews for those looking to buy. This is why I do this. What would someone who enjoys a stem style, wants ANC, and $100 US is at the top of their price limitations. How does the Air4 Pro rate (in my opinion) against those sets? I’ve heard many of them, spent time with many of them and I really feel I can adequately rate from experience. I will at least try as I understand that these prices can be a lot of money, and this is an investment for many folks. I really truly do understand this. However, as far as ratings goes, there aren’t many that will serve this purpose abundantly better than the Air4 Pro. Though there is some good competition in this price point.As far as possible issues that I could see with my ratings; possibly the “Bass” rating would garner some ridicule. I could see those who want a more polished low-end, tighter, snappier and those folks probably wouldn’t give this set a “8.8”. Bass on tws is not always what one would expect. So often the bass feels detached almost. Or emphasized but somehow recessed to the background of the sound field. It happens all the time. Not with the Air4 Pro. The Air4 Pro has a very pretty good sounding bass, albeit a bit too under-emphasized for some, and it could use some more mid-bass, but a very good foundation, nonetheless. Also, remember, you have a great EQ that does an excellent job on the Air4 Pro. Every other Rating is pretty self-explanatory. An “8.7” is worthy of this set overall in my opinion.
Conclusion
To conclude my full written review of the Soundpeats Air4 Pro I want to thank Soundpeats and a very large thank you to Ellen who is a great representative of Soundpeats. Truly. I am very grateful for these people and their willingness to simply let the “chips fall where they may” as far as the reviewer’s thoughts are concerned. Never under any pressure and always extremely kind and helpful. So, thank you. I also want to thank the reader. Thank you for clicking on the link as every one of them is helpful. I do hope this review is helpful to you.Different perspectives
Lastly, please take in other thoughts about this set. Take the time to learn as much as you can from other perspectives. We are not all the same folks and there are many diverse opinions in all thing’s audio. Audio reviewers are just people with their own unique thoughts and ideas and subjective opinions. I hope each person reading is well and good. Take care, stay as safe as possible and always… God Bless!
Hiby Yvain Review
"A Knight's Tale"
Hiby Yvain Review
Intro
Hello, today I am reviewing one of the latest iems to hit the market from the audio brand Hiby, that set is the Hiby Yvain. I received this set from Hiby as I am part of a tour out west that brought along the Yvain as well as the Hiby R3 II. I want to first thank Joseph Yeung for coordinating everything and for always being such a professional representative of the Hiby brand as well as Hiby for giving me this opportunity. Thank you! Now, when I received the Yvain the only things that arrived at my house were the carrying case as well as the earphones and cable. That’s it. So, what I usually do in these situations is simply complete a “sound review”. Honestly that’s all anyone ever cares about anyways. I will add a few other sections that I have the ability to answer but it’ll be pretty short.Hiby
Hiby is a huge player in the Audio game, and they’ve been around a very long time. Originally known for specializing in the dac/amp market as well as the dap game. However, they slowly began to dabble in creating earphones as well and to be 100% honest, they have yet to disappoint with anything I’ve listened to over the years. I own the Hiby Beans which is a bullet-style set that replays beautifully. I also own the Hiby Seeds ii which never got the love that I feel they should’ve gotten. Truly a beast of a set. I recently reviewed the Hiby Zeta (Zeta Review HERE), which is a kilo-buck iem that truly plays to its price ($1399). What a gem that set is! Truly a fantastic set that I loved having in my possession. Besides earphones, I’ve also reviewed the Hiby R6 Pro II DAP (R6 Pro II Review HERE) recently and I was beyond impressed. I am a fan of this company and I’m happy to be reviewing the Yvain today.Yvain
What a different yet cool theme to design a set of earphones to. “Yvain“! Strange name but sweet story. In fact, this story is as old as 1180 A.D. This is also a long story, but a noble story too. Hence the lion faceplate which seeks to embody the chivalrous and noble nature of the protagonist in the story… That person is… you guessed it… our friend Yvain. To give a very quick synopsis; Yvain temporarily left his love “Laudine” to seek adventure. As one does of course. However, Yvain is given an ultimatum by Laudine that should he leave, he MUST be back in one year or she’s gone.
Back to Good
Yvain becomes so addicted to his adventurous exploits that he doesn’t make it back in time. Laudine bounces (BuhBye), gone, no need for Yvain anymore. Yvain naturally tries to win her back which of course brings him to a dragon where he rescues a lion who becomes his loyal friend from that day on. The usual. Hence, the lion on the faceplate. Short story even shorter; Yvain faces 3 fierce warrior knights and two demons (what’s a story without knights and demons?) and beats them all in Knightly fashion while eventually securing the heart of his lady… Once again.
Okay that was a bad job of giving a quick synopsis, but at least you have the back story now. It’s a good name (Yvain) but I’m not sure how this story or this character ties into the tuning of the Yvain earphones? At any rate, it’s still a cool naming scheme and at least Hiby didn’t lazily give it a “number name”. Nobody likes number names! Also, it’s a damn cool faceplate!
Like I said, the Yvain is an all-Balanced Armature Driver Earphone, and has recently been released for sale at Hiby. Hiby set the price at $239 and from my perspective; I feel this is an fairly competitive price. let’s get into it friends, I’m feel good about this set. The Hiby Yvain everyone…
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro
–Hiby R3 ii
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Full Review can be found HERE
ACCESSORIES
Quick comment: Due to the fact that I did not receive the entire packaging I will refrain from remarking on the unboxing… Obviously. Instead, I’ll make some quick comments of what I did receive. Eartips
Hiby provided me with a small plastic case which houses the included eartips. Inside that case Hiby adds in three pairs (S, M, L) of comfortable foam tips. They also provide some very nice white semi-wide bore silicone tips that have a firm flange and a firm stem. Similar to KBear 07 tips. These are the tips that I decided to use, and I had zero issues too. I feel the silicones provided a nice emphasis in the upper midrange and some better-defined bass punch as opposed to the foam tips. Maybe some treble sensitive folks will want to experiment with the foam tips, but they weren’t for me.
Cable
The cable provided through Hiby is a beautiful brown cable, pretty thick, somewhat stiff, but also, it’s modular. Hiby sent me both the 3.5 single ended as well as 4.4 balanced nozzle Jack’s. The cable is dope, as you can see in my pictures. However, what sets this cable apart is the locking mechanism on the cable jack. You just shove it in and lock it in. You won’t have the modular Jack’s falling out like 85% of the modular systems we see today. I also feel it looks very nice against the silver of the Yvain earphones and strikes a very masculine look. The cable is not microphonic to the point that it’s annoying or anything. Honestly, the included cable is perfectly fitting for a set at this price point. I find there is zero reason to go 3rd party cable hunting to get the most out of the Yvain.
Case
The provided case is a very nice sized fabric covered case that has plenty of room inside. I like the fact that I could easily carry with me a dongle dac as well as the Yvain and some extra eartips when I was in critical listening mode while out and about. It is true that I really don’t ever use cases. Still, I’m dealing with a tour unit, it isn’t mine, so I’ll protect them as best as I can. I will say this, the case is certainly not going to fit in a pocket but is perfect to put into a bag and will definitely keep your precious Hiby Yvain safe throughout the day.
Build / Design / Fit
Build / Internals
Real quick, I feel the build is decent. I did notice what appeared to be slight glue at the seams where the faceplate and the shell cavity meet. I could be wrong but I’m assuming that this unit wasn’t exactly the final finished product as far as build goes. That said, everything else is very nice. The faceplate is all alloy with a very fine tuned and well-done machining for the design. The entire cavity was done by way of 3D printing and CNC. This is a completely sealed shell cavity which provides great isolation. Inside we have a three-way acoustic chamber. Hiby chose to use a 3-way electric crossover circuit as well. The Yvain is a four Balanced Armature iem using high quality drivers. Those drivers consist of a Knowles “damper less” high-power CI-300120 driver for the low-end. They went with two Sonion 2389D BA drivers for the midrange and a Knowles WBFK33518 BA driver for the treble region.
Design
The design is one of my favorites that I have personally seen folks. Okay the body and shell cavity are pretty normal, nothing crazy. We’ve seen this shell shape many times over the course of the past few years. It’s the faceplate engraving that absolutely ticks every box for me. Look at that faceplate folks! The lion head is so dope!! This set is masculine to the core! Bold in design with the perfect blend of artistry as well as structural integrity. I love it!Fit
As far as fit is concerned, the Hiby Yvain fit my ears like they grew there. Obviously, I joke but the sentiment is true. These fit me so very well. Now, will they fit you? Probably. This is a very common shell shape which is made to be ergonomically friendly to most people across the globe. I will say this, the isolation is fantastic on the Yvain. This set could be used for stage purposes. Hiby states that you can get up to – 26db reduction from outside noises. I can’t say that I disagree. This was one thing that jumped out at me. Also, it didn’t take long to get a good seal. Isolation is great, fit is great too. Nice work!
Drivability
Mobile listening
I have had such a blast with the Hiby Yvain. Of course, it was short lived, but I loved being out and about with this set. The Hiby Yvain is rated at 23 ohms and a sensitivity of 116 db’s. Friends, this set does not need extra crazy amping. Now, it slightly scales with a bit of power but that could all be in my head. I can trick myself and I’m big enough to admit it. What I think the Yvain actually does is scale and mold to the source. Obviously, my best sources are also the most powerful so naturally it seems the Ya in is scaling with power. Nope, it’s just a chameleon. Sounds good in anything! Take the IFi Go Blu. Using a Cirrus Logic CS43131 dac chip and some serious amperage on 4.4 balanced the IFi Go Blu sounds absolutely great. Just effortless dynamics and clean lines, even listening on Bluetooth. The Yvain scales even more to the Moondrop Dawn 4.4 (also CS43131). That neutral yet wholly dynamically charged and balanced sound of the Dawn just vibes with the Yvain. Vocals are like butter.
Daps
I won’t stay too long here because I know you get the gist. I used the brand new Hiby R3 II (Dual ES9219C dac chips) before anything else as they came packaged together. First off, that little dap is awesome (Review coming soon) and paired with he Yvain created this extraordinary detail retrieval. The bass wasn’t as lifted but the sound was melodic and clinical at the same time. The iBasso DX240 (ES9038 Pro dac chip) with Amp8 MK2 module installed sounded very nice. Easily the best in the technical department yet also with fantastic note weight and density. However, as per usual, the Shanling M6 Ultra (AK4493SEQ Flagship dac chip) was the one I clung to. Clean velvet, euphonic harmony, birdsweet and mellifluent… Okay I went a little “hard in the paint” right there but I love how the Yvain synergized with the velvet chip of the M6 Ultra. They sound great together.In the end
However, any dongle dac will do. It doesn’t have to be a powerhouse, and, in my opinion, I don’t think you have to worry too much about source tonality either. The Yvain sounded good on all my sources, and I have a few different types of source signatures. I do think the Yvain molds to the source which is a huge benefit (of course I haven’t tried them all) so don’t worry too hard if you’ll have a horrible pairing or not. Possibly you’ll find the best synergy with a warmer or more lush sounding source, but I don’t think this is necessary.
Sound Impressions
Note: I will reiterate that I did not get the entire packaging with this tour set so I will only complete a “Sound Review” of the Hiby Yvain. I used flac files or better stored on my devices for any & all critical listening, and I didn’t perform any burn-in of the Yvain due to the fact that these are all Balanced Armature driven earphones. One more thing, Hiby is nothing but professional. Nobody has even hinted that I should give a good review or asked me to skew my words (not that I would). When I write any word on a page you are reading my exact thoughts. Sorry, I had to get that out there. On to the sound…Solid Performer (between the 20’s)
The Hiby Yvain is a solid performer with a warm/neutral tonal color which canopies the entire spectrum. What we have is very full and very expressive macro-dynamic energy that is refreshing to listen to and fun to have in my ears. The sound is more organic to my ears with a slight hint of euphonic timbre that brings out a sweet tone to my music. At the least the Hiby Yvain is very musical, very melodic, rich, and a great set to simply chill with. At the most the Yvain will be a true standard at its price point. To me the Yvain has more of a W to U-shaped tuning with a very tight, controlled and slightly under-emphasized bass. It’s definitely a mature bass. The midrange is upfront, highlighted, forward sounding, which ultimately produces some of the best vocals from an all BA set in its price point. We have a very nicely emphasized treble region which adds some levity to the mix, some gloss to the sound, pinpoint clarity and some body for the treble bite. Imaging is outstanding, transients are rapid, and details are great. If this is all you read then just know this; the Hiby Yvain can quite easily compete at its price point with relative ease, especially if the tuning agrees with your preferences.
Bass Region
Sub-bass
The low-end is taken care of by a Knowles CI-300120 which is very well capable of providing passably deep sub-bass rumble. Very tight, nimble, dexterous and also easily capable of maneuvering even the trickiest bass passages. Of course, a good Dynamic Driver will provide a better kick and organic note structure, but I am impressed with the Yvain and how well the timbre comes across.Not for bassheads… Got it!
Now, this isn’t some basshead type sub-bass that rumbles in your belly. Still, it’s able to accurately define and extract every single little nuance in the sound. The Yvain is slightly guttural and just under what I would call “moderately deep” in pitch. Enough to represent most any genre I’d say, almost. But it’s the organic type of clean lined, ductile agility, and realistic cadence that makes this sub-bass special. Bass-Bois will want to keep looking though. Yvain laughs at bassheads, scoffs, raises his sword and cleanly, speedily, and with good authority executes the moniker. Not for bassheads… Got it. Let’s not get things twisted folks, this is a mature bass that is fleet-footed and spry enough to fight off three freaking knights and two demons! Basically, it’s nimble, has some punch, (a light punch) and every gradation within a note has some decent density. Not ultra deep in pitch as the Yvain isn’t too far extended into the nether regions of the bass, but still well composed. My opinion.Example
“Groove” by Ray Wylie Hubbard is quite literally the first track I ever check for low-end activity, just because I know that test track so well. I know exactly the parameters of that deep and gritty bassline. I don’t even necessarily think the song is all that great. Welcome to my test tracks. Anyways, I would say it has a passable and mildly robust solidity and a light reverberated haptic feel (especially for an all-BA set) with nicely defined note edges. Again, transients are perceived to be tantivy and rapid in their progress from attack-decay-sustain, but not so much that you lose all harmonics. The peak at attack has a concrete feel to them which I assume is a result of such quick ADSR. Basically, you won’t hear any “one-noted” type bass here.Mid-bass
The mid-bass can bump “a little” folks. Listening to “2040” by Lil Baby & Lil Durk hits decisively, distinctly, and with a sense of exactness. I could use a bit more oomph and quantity, but it can hit with agility and a tight slam. I actually kept rewinding because I like the defined note edge on the bass drop. There is a projection, or a convexity to a bass note on this set. It isn’t lifeless at all. Yes, it is under-emphasized, but it isn’t attenuated against the rest of the mix. Almost like a vibrant type of bass tone eminence yet without the lagging harmonics which sounds great on this digital bass next to the rest of the song’s melody. I don’t mind it. Though I could use more and if I had my way, I would have certainly plumped up this region more.Or ” Billie Jean” by Weezer (Michael Jackson cover). I don’t hear anything pillowy, or fuzzy, and the kick drum boom does have a pleasing and hollow pound to it, coupled with that nice and tacky edge. I certainly think that other sets can hold their own a bit better, but I like that you get all the qualities of good BA Bass. However, without question a Dynamic Driver will sound more authentic, deeper, more tonally correct. Whatever the case, it’s clear that Hiby tuned this low-end with cleanliness in mind while not overdoing it and still retaining some fun-factor. Nothing is muddy, and on the flip; nothing’s weak either. I also don’t hear any detrimental spill over into the midrange. I like what the bass does for the rest of the mix actually.
Downsides to the Bass Region
If I were to find an issue with the low-end, I would first say that this set is not a DD. That’s the biggest issue. Of course, based on the luxuries of this Knowles bass driver I’d say that this may be one of its selling points too. Next, I would say that Bassheads will not enjoy the output on the Yvain. I would usually never enjoy the output level the Yvain has and could certainly use more but I enjoy the Yvain quite a lot. Pardon my inability to properly articulate myself but I like a bass I usually wouldn’t enjoy… Weird. However, I could see many not enjoying it as much as me and the moment I’m in. This is definitely a more mature bass, and a speedier bass, that doesn’t rumble with that robust wildly authoritative type of boom that lingers in your ears completing a note. The Yvain won’t give you that atmospheric and bulbous type of organic sound. It just isn’t that folks. Instead, I find the low-end to be tonally pleasing and I really enjoy this hard-edged attack and speedy ability. Of course, this set will not be for everyone and most of those decisions will be because the low-end doesn’t necessarily bang hard enough. Still, the low-end is nice.
Midrange
The midrange comes across with a pleasingly smooth cadence and slightly neutral lean, yet with a hint of warmth that really does help at providing a spotless and grain-less but also rich tone. Not thick per se, or syrupy, not weighted with warm trickery from the bass region either. There’s almost a pregnant euphonic timbre that is pristine in its controlled convexity or rubbery malleability. It’s forward, yet contained, it’s vibrant yet also reserved and at times it comes across with a little gloss to the sound. I realize this may make no sense to any of you. It only makes sense to me when I’m in the romantic throws of the moment. However, this is the best way to describe this vocal presence. Again, it’s a ‘smooth-over-crisp’ sound yet doesn’t miss any of the fine details. However, I say that but… the Yvain can pull off crisp too. Also, when I say smooth, I don’t mean soft and warm or pillowy, I mean smooth as in clean. Within the fundamental body of the sound, the Yvain has a debris-free and blemish-free intonation which flows throughout the midrange. It’s smooth. If I’m still not making any sense, just know that… the midrange sounds good! That made sense!Lower-midrange
Males generally play around in the lower-mids (for the most part) and I find that males come across in a very lean-lush way. There’s density to the body of a note but transients move seemingly pretty expediently. Resolution in this area is speckless with effortless details within this clean approach. The spill-over from the low-end gives just enough warmth to lend body to a man’s voice.“I Still Haven’t Found What I’m Looking For” by Home Free (U2 acapella cover) showcases every type of male voice in perfect clarity, and the Yvain seems to revel in it! The song quite literally provides the listener with bass/baritone singers, to tenors, to countertenors (and everything in between). With this track I can also discern the Yvain’s agility in this region and the variable modulations of voices undulating and flowing together. The Yvain really does nail this track. In fact, take any track by Home Free as they are damn near all the same. Perhaps, a voice like Avi Kaplan, in a track like “First Place I Go“… may not come across as perfectly authentic. Maybe a bit sharp. Bass singers do tend to be a bit too elated sounding on the Yvain. Maybe not as deep or resonant to be natural, but not bad by any stretch.
Upper-Midrange
Females have that shimmery projection within the Yvain’s forward positioned upper-mids. Shimmery and lifted yet also capped from going overboard or oversaturated to cause glare. There’s a contrived and controlled cap to the pinna emphasis which still holds tight to the natural smoothness within a woman’s voice. The Yvain can sound silky and soft in a track like “The 1 ” by Taylor Swift from her “Long Pond Studio Sessions” remix of “Folklore“. Yet also sounds more outstandingly coarse when listening to Jess Williamson in the song “Stampede“. She has a sweet but also rough edge to her voice that doesn’t get lost on the Yvain and doesn’t sound grainy or metallic. Females are a bit more forward than males, but it all comes together naturally and relatively balanced. However, the structure of notes isn’t so clinical, dry, or analytical that the Yvain loses any musicality. Females in this region still have some body, or like I say a… “lean-lush” type note expression.Instrumentation
The BA drivers housed within the Yvain sound very composed. Usually, we are stuck within the confines of a few different tuning principles. Somehow the Yvain is somewhat of an outlier. Meaning, most of the time BA’s have the speedy transient attack yet cut off the residual harmonics to a degree which makes so many instruments sound unrealistic and sometimes unmusical. There’s this unique problem that doesn’t usually get resolved in the more budget friendly price points using BA drivers. In comes the dragon slaying Yvain that is able to skirt around this issue. Let’s put it this way, I don’t hear a lack of harmonics to the point that instrumentation comes across too sculpted. Strings sound great on most any track I played. Details emerge with ease. Percussion seemed to always have that sprightly energy affording a satisfying pang, pap, thwack and chisk. Piano sounds mostly melodic, mellifluous and resounding, depending on the track of course. Not everything is perfect, but this is stuff that you hardly recognize unless specifically listening for it.Downsides to the Midrange
As far as issues in the mids… I don’t know guys, what do you want me to say? Harmonics are cut short at times, maybe? Ooh, I got it, some folks will not desire a forward type of midrange or a mid-centric type of replay. Here’s another, some hobbyists would much more prefer a warmer, tonally darker and pillowy smooth type of vocal delivery. The Yvain isn’t that folks, so there’s your downsides. Honestly, I find the Yvain midrange wonderful folks. You have no sibilance, glare, grain or veil and vocals are really great, layering is great, and Imaging is also great.Full Review can be found HERE
Treble Region
The treble is the same as the rest of the mix; perfectly harmonious, homogeneous and in the spirit of cohesion, it’s also dynamically balanced. The treble is cleanly partitioned off from the bass and the mids, yet wonderfully coherent. Each 3rd of the mix converges into a tiny nozzle that explodes that sound into the temporal lobes of our brain and images that sound in the occipital cortex to paint a very well-done melodic picture of my music. I suppose I could’ve just stopped at “the treble is cohesive in the mix and rather musical” … but that’s boring.Cherry on the top
The treble comes across nicely lifted yet overtakes no other area of the frequency. In fact, you might say that the treble is slightly laid-back. I would then ask you what you mean by “laid-back”? The treble simply isn’t over emphasized but make no mistake there’s good energy there. Good as in…the treble has good note body, and good presence, with a very resolute and refined sound that comes across just as smooth as it is crisp. It uplifts the rest of the spectrum and is just as much a “supporting leg of a three-legged table” as it is the “cherry on the top”. Basically, the treble fits the overall auditory spectrum and balance really nicely and even sounds pretty darn nice too as I jam away to my library.Rapid fire
I always go to Billy Strings because his tracks have that rapid-fire treble activity which helps to hear the speed, separation, layers, really the whole nine. Take the track “Ice Bridges” or the track “Secrets“. Actually, you can take just about any track on his albums (these two are in my “Testing” Playlist). Listening with the Yvain in my ears is a delight. The Yvain is well able to navigate the breakneck speed of the banjo play and does so in a well layered and well separated fashion. Now, some sets in the price point can run through this better, or more succinctly, but they are also usually drier and at a loss for musicality, to a degree anyways. What I love about the Yvain is that it can hang well with either song, but it also has nice timbre, body and definition.Downsides to the Treble Region
If I’m choosing some drawbacks to the treble, I would first say that there will always be those who desire an even more uplifted and brilliant treble region. The Yvain is not necessarily loaded in “brilliance” although there is most certainly some luster up top. I also suppose the polar opposite is true that some folks are actually very sensitive to any rise in the treble region. I know quite a few people who fall into that camp. However, I think that most hobbyists would declare the Yvain treble to be very well tuned. There isn’t anything ultra bright with glare or any saw blade type peaks that will affect your music. I don’t hear any sibilance either.
Technicalities
Soundstage
The soundstage of the Yvain is more intimate and closer, yet also very full. The music sounds closer to the listener due to a more forward midrange. However, this doesn’t mean it’s a small stage because the sound field is very wide, very tall and has good depth too. Instruments and voices may be more intimate, but the Yvain uses every square inch of sound real-estate to convey that stage. The sound is simply “full” to my ears. I enjoy a stage like this. It’s actually difficult to call the stage “intimate”. Intimate to me makes me think of congested, tight, narrow. The Yvain isn’t even close to any of those descriptors. Certainly, the Yvain doesn’t have the type of large stage that mimics the sound of a concert venue with the band spread wide in front. It’s large in its auditory expression within my mind space. I hope that makes sense because there aren’t many other ways to say it. The stage is very good folks.
Separation
Separation of elements within that stage I just described is fantastic. Truly. I hear very well delineated Instruments and vocals which are very well partitioned off from the rest of the mix. Obviously, the more chaotic and complicated the track will render this to be slightly more difficult, but the Yvain handles it all like a champ. These good drivers that Hiby chose to use can clearly handle just about anything you throw at them. Possibly in tracks with mind numbingly loud electric guitars that mask the sound in Rockstar Sheen where the midrange/lower treble is tasked with the job. Maybe in those tracks things will blend a bit. That’s about it. Also, super poorly recorded tracks may not be great. Of course, they won’t be great on anything.
Imaging
Just like the Yvain’s ability to separate and make distinct edges around instruments, it also has a superior ability to place those images and layer those sounds. Depth of field is quite good, separation is quite good, the sound is highly resolute, the stage reaches wide, and transients are quick. These attributes melted together help the Yvain to create nice imaging. At least that’s my interpretation. You don’t have any one frequency blaring over the rest of the mix either. I’d say this recipe is perfect for a very well imagined psycho-acoustic stage with 3D type portrayal of the music I’m listening to. Again, you really have to consider the track, as not all music is created equal. Also, you have to consider the source you are using too. Just a few things to think about. Listening with the Shanling M6 Ultra using flac or better files really does wonders. Still, by-and-large… The Hiby Yvain is a technical marvel at its price.
Details
I feel like if you’ve read this far than you already know my thoughts about the Hiby Yvain’s ability to execute and depict the finer details. The subtle stuff… if you will? Friends, the Hiby Yvain can resolve all the tiny little minutiae within my music very well. The fantastic thing is that it does so without coming across ultra dry or analytical or flat. Instead, the Yvain maintains its musicality while also maintaining its precision, clarity and control for the price. I am very impressed with this set and glad to report my findings.
Is it worth the asking price?
This is an easy answer for me… Um… Yeah. Yep, the Hiby Yvain is worth every penny. The real question is if “the price is worth the Hiby Yvain”? Do those mental gymnastics! For the low price of only $239 you can have a true all-BA standard at this price point. I won’t say it’s better than any other set because really… it’s just different. Also, I haven’t heard every other set (remember that). But yes, it’s good, yes, it’s a joy to listen to for me, and yes, it’s worth that $239.The Why…
Let’s start with the build and design. First, the Yvain is ridiculously light and ridiculously ergonomic, it’s ridiculously awesome in appearance and is outfitted with good drivers. Remember the faceplates. However, as always, the real reason the Hiby Yvain is worth the price to own them is the sound. Of course. The sound is so well done from top to bottom and front to back. It’s a very melodic choice that I feel truly competes against any set priced near it. The bass is mature and detailed. The midrange is harmoniously melodic and tuneful with great energy and beautiful vocals. Lastly the treble is pretty sprightly, detailed, somewhat vibrant and doesn’t kill your ears in treble sheen, while at the same time it’s also very cohesive. The stage is nice, imaging & layering are fantastic, and picking up the subtleties in my music is easy. Very organic for a BA iem without many of the drawbacks of an all BA iem. This is a good one folks. Again, worth the asking price!
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Hiby Yvain ratings below, that would be $150-$250 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $150-$250 US is a decent sized scope of iems and so seeing a 9 should probably be pretty special. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 8.2 The build is great but also, most are great at this price-Look: 9.7 Just a SICK LOOKING set!
-Accessories: – – – I didn’t receive the whole package
–Overall: 9.0
Sound Rating
-Timbre: 9.4 The timbre and tonality are fantastic-Bass: 8.4 This high score is for quality and not quantity
-Midrange: 9.9 A very good midrange for me
-Treble: 9.4 A great leg of a three-legged table
-Technicalities: 9.5 Technically one of the best in the price point
–Overall: 9.2
Ratings Summary:
I think I have some explaining to do. I know, I know… Those are some ridiculously high scores. It would be so much more helpful if each one of you could be in my head while I compare every set at my disposal in the price point as well as go through every note from every set, I’ve heard in the price point. Then maybe you’ll understand each Rating above. $150 to $250 is LOADED! How in the world did I give the Yvain well over a “9” in every category? Listen, I’m not too big to say I don’t go through honeymoon phases. Also, tours are short, and you only get a honeymoon phase. So please be mindful of my humanity and ability to make mistakes in my discernment when doing the arduous and ridiculous task of rating iems. I can’t stand it. Woe is me.Explain yourself
Obviously the “Bass” could go either way. One extreme or the other and likely not in between. I think most will want much more bass quantity. If you don’t value the quality of the bass here and only desire quantity then the rating might as well be a “1.0”. However, there is no way I could listen to this set and not compute the quality of the bass under a “8.4”. My opinion. I wanted to go “10.0” in the “Midrange” rating. However, I haven’t heard all iems in this price point. In fact, there is a ton I haven’t heard so… please excuse me if these ratings don’t cover the ‘whole of the Audioverse’ between $150 and $250 US. I’m trying folks. Perhaps the rating section needs to take a hike because I put way too much time in it and never feel good about it. Still, the ratings are in, they’re locked, and they aren’t changing. That is until I hear something better and need to go back and edit (every review).Full Review can be found HERE
Conclusion
To conclude my full written review of the Hiby Yvain I must again say thank you to the people who put this tour together. Joseph Yeung, thank you! Hiby, thank you! The Yvain is a great set to feature at our website and it was a very fun set to conduct listening sessions with. Of course, I don’t like tours all that much because having to part with some of these devices is not fun. Again, woe is me. Anyways, thank you, really. I joke but I am grateful and honored to be a part of the tour and that’s the honest truth. Also, to anyone who reads any of my reviews and is still reading this review… You are why I even do this (along with a salacious affinity to write about what I love). Thank you for clicking the link. We have a small site but really are trying to make it as best as it can. With that, please comment your thoughts. Constructively criticize if you must, add some thoughts or ask a question. I’ll be glad to get to those comments.We are all different
Please, please, please; read, watch, or listen to other reviews and thoughts about this set. I am not the end-all-be-all folks. Yes, I give you my exact and honest thoughts, but my thoughts may not jive with the next person’s thoughts about this set. We are all different! It will behoove you to get as much info as possible before shelling out the money for this set. Take in other thoughts my friends. With that all said… I’m Out! Thank you, take good care, stay as safe as you can and always… GOD BLESS!
Queen of Audio Aviation Review
QOA Aviation
Intro
Hello friends, today I will be taking a look at one of QOA‘s (Queen of Audio) latest hybrid iems, the QOA Aviation. I want to thank HiFiGo & Alice in particular for providing the Aviation in exchange for a full review and feature of this latest product. The Aviation is one of many Kinera branded iems that I’ve had the pleasure of reviewing of late and I gotta say… I feel like a broken record because I seem to always be impressed. I’ve spent a multitude of hours with the Aviation, and I feel like I have a very good handle on this set.QOA
QOA or “Queen of Audio” is actually a sub-brand of the very well-known audio brand “Kinera”. Most certainly the footprint and DNA of a Kinera product is seen in each and every QOA iem. It’s all there. The beautiful unboxing, the care that goes into the creation of the product, the thoughtful and appropriate name and design put forth in each product. Friends, these people truly do it right. Always, you’ll see a product worthy of the relative price point and you’ll get more than you would have thought. There’s just something about this company. Whether it be “Kinera” themselves, “QOA” or even their budget brand “Celest“. It is difficult not to be surprised at the quality in every aspect of their earphones. Are they all home runs? Well of course not! Nobody nails it every time. However, I have found that at least the proper love and care is put into the final product which is something that consumers should expect.What’s in a name?
The Aviation earphones oddly enough are named after a cocktail drink which itself was named after the Wright Brothers first adaptation of the flying plane. The name of that drink was called… you guessed it… “Aviation”. This may seem like a longshot naming scheme, but I beg to differ. I think it’s perfect! Bravo to QOA for thinking outside the box for a way to express the sound and to give some soul to this set of earphones. Good for you for not simply slapping on a coat of paint and giving it some random name that makes zero sense. Instead QOA likens the sound of the Aviation to the refreshing yet warm taste of the liquor it’s named after. Warm, smooth, lush and energetic. As though it’s the taste of spring. QOA states that the actual drink is sweet, sour, mellow, and filled with the breath of Springtime. So, QOA saw to it to give the Aviation earphones these same tonal qualities. Neutral with some warmth, rich, vibrant, with a full bass and extended highs which resemble the drink’s long aftertaste.Give it an identity!
Folks, we don’t get much from so many of these companies. The majority of these audio brands look at their products only as a money maker situation, let’s be honest. Most companies throw spaghetti at a wall to see what sticks. What I love about Kinera and their sub-brands is that they care about their craft. It’s obvious. Nobody goes through all of this time and effort to create a theme, follow that theme, and execute that theme all to simply… not care. They named the entire scheme after the feeling of flying through air, the galaxies, Springtime and the feel of Spring. I realize there are a couple different themes they are dancing with here, but they all go into the original idea of what the Aviation is supposed to be. I love a company that uses all of its resources, artists, engineers and everyone else involved to create a scheme and an identity to follow.Round of applause!
Take pride in your work, put actual care into it, and give your product an identity! Make something you can be proud of and those who give their hard-earned money for that product will reap the benefit of your creativity and expertise. I am always a romantic in everything I do but I can’t help and envision a bunch of very creative people looking at the finished product in the “Aviation” and feeling proud and accomplished. I like that. Thus, I’m already a fan of the Aviation, and clearly, I am a fan of Kinera as well as all of their sub-brands, especially QOA. Here’s my round of applause!!!!Okay, time to act like I’m serious again. Friends, within this review I want to fully explain the sound from my perspective as well as the unboxing, build, design and overall theme. Also, I want to answer the main question if the Aviation is even worth the $199 that QOA is asking for? And also, can it stand against some of the better iems within the price point? We shall see. With the intro out of the way I think we should get started… The Queen of Audio Aviation…
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
One thing that a sub-brand of Kinera will do right, 100% of the time… The unboxing. What crafty and creative people?! Always they will put more thought and care into a simple unboxing experience and into the packaging than most brands. Also, they do so without skimping out on any other areas. The box itself is a very colorful depiction of mountains with a valley and a moonlit night. Almost abstract but very tasteful and very fresh looking. I know that the unboxing is an experience which lasts a total of about a minute but, Kinera or “QOA” understands very well that if they go “all-out” on all aspects of the product than the consumer will eventually begin to associate their brand with quality and with respect. It’s just the truth. Of course, you gotta get the sound right too.Anyways, opening the box I found the Aviation sitting in very thick foam cut-outs, lookin’ all fly. Next to the earphones is an equally gorgeous carrying case and the 3.5 & 4.4 modular jacks. Inside the case is the tips (also in a case) and the modular cable. Everything included is perfectly colored and designed and I couldn’t be more approving than I am. Great job QOA!
Eartips
The included tips are of very good quality. Provided in the packaging are three sets (S, M, L) of “Balanced” eartips which 100% resemble in every way the KBear 07 tips. I’m beginning to think every company has their own 07 style tips. Anywhoo, I love these tips folks and they work perfectly for the Aviation. The other set of tips (S, M, L) are the “Vocal” tips which feature a shallow fit, firm flanged, wide bore which also does a great job for further tuning the Aviation. The sound is a hint more open with the wide bore tips but the 07 style tips seem to perk up the upper mids a bit more as well as adds a punchier low-end. Both sets only bring out the best in the Aviation. This was perhaps one of the first times in a long time that I had zero need to go through my collection of eartips searching for a suitable option as the included tips are perfect.
Carrying Case
I’ve said it in almost every review I’ve done, that I don’t ever actually use any carrying cases. But folks… look at this case! It’s truly a looker. I don’t know how much it actually costs to make one of these, but QOA sure made it look about as nice as you can. Look at the white stitched top of robust material, the brand name indented in the center, the magnetic flap with the brass rivet. The bottom is the same material yet in deep blue. Inside the case is some soft felt type material to keep your audio stuff safe and cared for. Now this is a big case. Probably only good for throwing in a bag. Big enough for possibly a couple sets of earphones or a set of iems and a dongle dac. It’s a good size. I think that QOA knocked this out of the park. The case is stylish, handsome, the magnet is strong, it feels durable and it’s big. Again, well done QOA!
Cable
QOA decided upon a gorgeous grayish blue colored cable that pairs very well aesthetically with the Aviation. The cable is actually a 2-pin, 4-core, OCC copper cable that has a modular termination with 3.5 & 4.4 sized removable Jack’s. I absolutely love a solid looking cable with just enough chunkiness to feel “not cheap” and I love a good color choice. Let’s be real, we love a good cable! Period! I love that QOA provided a cable that looks good and sounds good with the Aviation. Finally, I don’t have to go with some 3rd party alternate cable to fulfill my need for nice aesthetics. Also, how nice is it to have a modular system on your cable where you can simply swap the jack out for use with whatever source you’re using. I think every cable should be modular, but that’s just me. Especially over a certain price, it would be nice to see and very helpful and conscious of the consumers’ needs and wants.
Build / Design / Internals / Fit
Build Quality
The QOA Aviation is a nicely built iem made completely out of 3D printed resin. The material is obviously very durable. The size is just large enough to accommodate all the drivers internally. Comparatively, the Aviation is actually rather small against other sets with similar driver counts. You’ll see that the nozzle is about medium length and appears to be made of aluminum or stainless steel. Also, as you look at the nozzles head-on you can see the three holes for the three different tubes. Nothing particularly special about the build as we can find build quality just as good for much cheaper. Still, the Aviation has a good feel when in hand as well as in the ear.
Design
The QOA Aviation comes in two different colorways, aptly named “Mirage” & “Galaxy”. Both colorways use a translucent blue color as the base which faintly gives us the ability to peer into the unit to see the inner workings, the drivers, the tubes. The faceplates are hand painted by some impressive artisans to depict the night sky in one colorway and the galaxies on the other. Obviously, the glitter you see will resemble the stars. I am utterly impressed by the artwork on these shells. It isn’t easy to create this appearance as the average Joe isn’t just going to re-create this look. This took people who are very talented, and the faceplate shows this. They are gorgeous. I do like the set I got better than the Mirage colorway, but both are very nice to look at. Both colorways refract light and shoot colors back to my retina as I twist the Aviation in the light. You’ll notice in my pictures I tried hard to reflect the colors and make them “POP” in each shot. Of course, I wasn’t always successful.The faceplates have the name of the earphones “Aviation” printed or painted right in the middle of the faceplates. Usually I would be against this, but I like it when it’s a theme such as this. It’s a nice look. The cursive is elegant, and the backdrop of the night sky contrasts the writing very well. Truly a beauty and QOA should feel proud and happy with what they have made.
Internals
QOA decided to go with a four driver Hybrid system to recreate the sound that they wanted. They used an 8mm full-range, custom built Dynamic Driver. I don’t know the actual diaphragm material. They also used two Knowles #32873 Balanced Armature Drivers for the mid to high frequencies as well as one Knowles #33518 Balanced Armature Drivers for use with the ultra-highs. This is a three-way tuning scheme that seeks to fine tune the treble extension and the rest of the mix. Internally you’ll notice the tubing running to each of the frequency divisions and out to the nozzles. It’s pretty obvious when listening that QOA outfitted some good drivers within the Aviation.Fit
As far as the fit is concerned, I have zero issues. I get a good seal very easily without any fiddling when first putting the Aviation into my ears. The Shells aren’t very large as even smaller ears should have no real trouble. Just like any set in most any of my reviews; make sure to find tips that work for your particular ears and also, just because they fit me doesn’t mean they will fit you. I would assume that the vast majority of hobbyists would have no problem with he fit. I also found that isolation is actually great with the Aviation as outside noises are never an issue. Is suppose when I don’t have to think about it then that’s a plus. To the same point there isn’t any sound leakage either.
Drivability
Mobile listening
The QOA Aviation is a fairly easy to drive iem with an impedance rated at around 39 ohms and a sensitivity of 118 db’s. I found that there really is no hiss or extra noise which is fantastic. Using my iPad 6th gen, I didn’t have an issue getting the Aviation to volume. Of course, the iPad is not a very musically gifted source, but it does give the reader an idea of what type of power requirements are needed. Now, I do think that scaling with power as well as source is certainly something to consider with the Aviation. For instance, using the IFi Go Blu with 3.5 single ended and then jumping to 4.4 balanced was quite a nice difference. The Go Blu’s CS43131 dac chip is nice with the Aviation but I did enjoy the Qudelix 5k a hair more (almost never the case). The 5k uses a Dual ES9219C dac chip which is a bit more analytical and neutral and seems to play to the warmth of the Aviation nicely. Of course, I had to swap cables for the 5k’s 2.5 connection, but it was a nice pairing.
Dongles
I used many different dongles during the course of this review. I used the Shanling UA2, the Fiio KA3, Hidizs S9 Pro, a newer dongle that I cannot speak of yet (soon enough), and the Moondrop Dawn 4.4 among others. With all honesty… I liked each one I used. Certain ones I preferred more than the others but all sounded nice. That said, I did notice through a constant swapping of dongles that the Aviation does scale to the auditory ability of each source and the power of each source. Again, some dongles paired a hair better than the others, but all sound good with the Aviation attached. Usually, I’ll hear at least one that doesn’t jive, but yay for the consumer… the Aviation plays nice. Not exactly a chameleon, but also it’s not absolutely & positively source dependent. This is a great quality as so many iems will only pair really well with certain source tonalities.
Perhaps the vibrant warmth of the Aviation is tilted far enough to the left that it doesn’t matter what you use. However, the Aviation did pair the best with the dongle that I cannot name (forgive me but I can’t right now) and the Moondrop Dawn 4.4…For me anyways. The more neutral tonality of the Dawn’s CS43131 dac and the big power provided from the Dawn made the Aviation a bit cleaner sounding, bass tighter, mids more present, soundstage fuller. However, even the slightly warmer S9 Pro sounded rich and dynamic.
Daps
I only have two Daps in my possession anymore. These are the two that I keep because they each have different tonal qualities to better fit whatever earphone I am using. As a reviewer it is nice to have that ability. The iBasso DX240 with Amp8 MK2 installed has a nicely lustrous and vivacious dynamic behavior. It has a neutral sound with an energetic replay. My other dap is the Shanling M6 Ultra which is very resolving, dynamic, and slightly lusher in presentation.Both daps are outfitted with fantastic flagship level dac chips and some of the best audio tech under $1k. The DX240 uses the ES9038 Pro chip and the M6 Ultra uses the AK4493SEQ velvet chip. Both are tonally different, and both daps sound really good with the Aviation. I honestly couldn’t tell you which I liked better. The DX240 gives the Aviation a bit more crispness but also a hair less low-end oomph, better technically too while the M6 Ultra is creamy and ridiculously resolving with a more fun sound and a bit more musical. I used medium gain on both daps at all times though low gain would have been plenty as both daps have around 1w of maxed power and it doesn’t take much for the Aviation.
At the very least
At the end of the day, like most iems, all you really need is a decent Dongle Dac or equivalent source. It should have decent power as the Aviation will scale to a degree. If anything, it may suit your preference to have a more neutral, clinical sounding source but I don’t think this is required at all. The Aviation seems to pair well with just about anything. Obviously, your mileage may vary pertaining to that statement.
Sound Impressions
I think you probably already have a gauge on what the tonal color and characteristics of the Aviation sound like. However, I will recap in this section to give you a quicker glimpse into the sound. The QOA Aviation comes across very much organic sounding with some added coloration. There’s a slight warmth to the vibrance within the presence of the sound which comes across realistic to me. It’s nice to get close to that natural and authentic sound yet still have plenty of dynamism, energy. This is one of the characteristics that sets the Aviation apart. It’s colored in certain areas but that coloration tilts more towards its vivacity and its enthusiastic character rather than skewing the sound, veiling the sound, or creating an artificial sound. I think when someone says “warm sounding” it leads some to believe it’s darker with less treble lift and brightness. That’s not what I’m saying. I said it has a “slight warmth” while keeping a certain vibrance. Which by the way is utterly musical, non-offensive and completely forgiving. This is a set to sit and chill with folks. And also… It sounds pretty damn good! Pardon my word choice.Tonal balance
I would probably say that the tonal balance is almost mid-centric (to a degree) but truthfully, I’m having a hard time labeling it. It isn’t really V-shaped. I wouldn’t consider it a straight up L-shaped iem either, though there is an L-shaped tilt. Possibly a W-shape tonal balance with emphasis located in the low-end and the midrange and a low key but nicely equipped treble region. The sound is not analytical or sterile… At All! This is a musical sound, emotionally charged with some soul to it. There is a richness to the sound with a nicely concentrated & ropy type of note body. There’s still some ductility and agility to the modulations of sound which makes the Aviation actually very well controlled. In the same breath it isn’t the most resolving set I’ve ever heard. By way of tuning alone and the tilt of sound balance, the lush nature compels the Aviation to not illuminate and define a notes structure as well as some more lean and analytical iems.Between the 20’s (pint sized)
Between the 20’s and with the QOA Aviation in your ears, you’ll find a thick and warm bass region that has plenty of slam and good enough extension down low. Bass notes don’t have the best-established note outlines in the world, but the timbre is great. I wouldn’t call the bass one-noted, but I have heard cleaner bass replays for less. Still, it has a nicely hefty bass that can rumble and plumps up the rest of the mix.The midrange is up front, melodic, velvety in its articulations and note structure, yet with a very rhythmical tempo & bounce. Also, the Aviation has good transient response for such a lush setting. Don’t get me twisted here. Considering the thick and warm cadence of the Aviation it’s transients are well controlled and fairly clean. It’s in the midrange that the macro-dynamics are pronounced making the Aviation a warm but also engaging set. The mids have a great presence in the mix which makes vocals really great for me. Instruments too. Obviously, there are subjective nitpicks and qualms, but the midrange is delicious friends.
Like how it sounds
The treble is not what I would consider airy or radiant and there isn’t that bright brilliance up top. However, there is a very fluent sound balance that doesn’t seem lifeless or flat. The energy in the bass and mids is matched in the treble. I find the treble to still have enough lift to make for a nicely coherent flow between the treble and the other frequencies. Also, there’s texture and good note body in the treble which is just another way of presenting the sound. Detail retrieval isn’t anything to write home about, but I find that there is okay imaging and average layering with a nice stage that doesn’t lack in any one direction. There are obvious subjective gripes, but all things considered… I really like how this set sounds.
Bass Region
Sub-bass
The sub-bass is able to get down and dirty with a reverberant vibratory depth that is relatively haptic and tactile in its presentation. Listening to the track “Golden Child” by Lil Durk certainly gives off enough of the deep, trench-like and sonorant rumble, but doesn’t go overboard with it. You won’t feel this rumbling in your eyelid’s folks. Still, without question, there is plenty for most any genre and enough of a guttural haptic growl down low to satisfy. “Groove” by Ray Wylie Hubbard begins with a dirty bass guitar riff and the Aviation does an adequate job of staying clean enough, controlled enough and deep-toned enough. There are definitely other sets in the price range which either go deeper or are more transient quick. The Aviation sub-bass note decay hangs around a bit as it finishes the note. Basically, it won’t win any awards for speed or definition. Still, what it does do is offer a nice sub-bass rumble that gives vital extension to my music.Mid-bass
The mid-bass has an emphasized, pretty large and very inviting sound where just like the sub-bass you don’t have that transient tight and deft ductility and agility like on some iems. I’d go so far as to say It’s almost one-noted on some tracks. Especially the more congested songs down low. Having said that, I really like the bass for what it adds to the rest of the mix. It has some nice density, it’s a little bit soft at the note edge but there is a robust substance there which falls into the midrange adding good lushness to the sound. I would certainly enjoy a tighter and cleaner mid-bass, but this type of presentation is more an additive to the overall sound. It does its job.The Aviation has a robust slam and slightly fuzzy note edge at the crest of the note. For instance, on a song like “Billie Jean” by Weezer. Granted this is a simple track with big booming kick drums. However, in it you can easily hear the pillowy fuzz at the attack/decay peak within the note referring to that kick drum boom. It’s heavy, weighted, full, but also a hair soft. I think of it like a rock wrapped in a sock. Dense but doughy. Does that make it bad? Absolutely not.
Mid-bass cont…
In more congested tracks with speedier bass arrangements the Aviation is not so refined that it partitions off each note like some speedier bass sets. It simply isn’t tuned for this. For instance, “Radio” by Rancid. It’s a fast bass track, and the Aviation sounds a bit meshed together down low. Granted, that’s a tough track for any set, but you get the point. Again, not a bad thing at all but certainly something to make note of. It’s a preference thing. Hence, why I’m bringing it up. Not everyone is a fan of any “one-thing”. However, the timbre down low sounds great. It’s a warm and inviting bass that casts a warm shade across the entire frequency and provides some cream to the midrange while not muddying the waters… so to speak. Kick drums sound bulbous but less intense and defined. Bass guitar has more than enough fullness and grizzly growl down low. Bass singers are weighted with great pitch and tone to my ears.Downsides to the Bass Region
The biggest drawback of the bass (for some folks) would definitely be what I’ve already expressed. It doesn’t have that tight and compact bass but instead it’s spread out and more “one-noted” throughout the bass region. Of course, I say that, and it reads much worse than the Aviation really is. So please try not to navigate my words like they are “black & white”. We live in a gray world and the Audioverse is no different. Truth is, I quite enjoy the low end. It’s fun, it bumps pretty good and has good note density. Just slightly less agile than some iems of late. I love what the low end does for the rest of the spectrum, adding warmth and weight. The bass simply isn’t some detailed, clean response type low-end. Still very nice though, still very engaging. The only other issues I’d find down low is that it may be too much in quantity for a large number of people in the community. On the flipside, it may not be enough for some bassheads.
Midrange
Oh, the midrange! This is where I began my enjoyment of the Aviation. Not that the bass region isn’t great, but the midrange is bolstered by the bass. Almost like it’s infused with extra weight. The midrange is smooth throughout with a cream-like and warm tonal coloration. However, the mids aren’t without some great allure & charisma. They don’t come across veiled in any way, which is the one thing I fear with an intrusive low-end. I feel the Aviation takes all the benefits of the bass and leaves out the negative side effects.I also wouldn’t call the midrange particularly forward, but it has good presence. Truly. I love the full-bodied & milky vocals on this set. They come across pretty clean per this type of replay and are certainly not a haze-covered mishmash of sound. Let’s put it this way, the mids aren’t as clean and transparent as some other sets, but they do have a very organic and natural timbre that doesn’t sound congested at all. Warmer and heftier in the lower half and slightly leaner and more forward in the upper mids. Stepping back, the midrange is thicker in body yet still energetic, the mids are highlighted and pleasant across the board and stay in good control. They’re nice folks.
Lower-midrange
I’ve already stated that the low-mids take on some of the warmth and body of the bass region. As for male vocals, they have a robust sound with a predominance of the low-end energy permeating through the presence of the lower half of the midrange. There’s just a slight tinge of vibrancy to uplift this area of the mix. Meaning, it isn’t all just dull warmth. There is a nice character to male vocals that sounds very nice.“Sweet DeAnn (Live)” by Zach Bryan sums up this whole sentiment as his voice has that thick southern drawl and coarse inflection with the Aviation. This set really helps to bring out the emotion in his voice. This is one time when I’d say with certainty that the earphones I’m using helped to tell the story. Not to mention the instruments which compose the melody that float behind his vocals; they too sound full & warm but not without musicality. Or “Howling” by Noah Kahan. His voice is higher in pitch which probably peaks in the mid-mids but I think his voice actually has some shimmer to go along with that nice vocal smoothness and body. Nothing even remotely grating or harsh. Nothing flat or boring either. Definitely not as snappy as many sets or as detailed, but folks, this set is tuned to be emotionally musical and the low-mids testify to this.
Upper-Midrange
The upper midrange sits slightly more forward in the mix than the low-mids to a slight degree. Actually, I call it “forward” but really, they are just more exuberant and elated or uplifted in pitch and tone. The upper midrange has a nice ear gain that isn’t piercing at all with a gradual uphill climb. I find the upper-mids to have a slight bit of shimmer to them, but nothing even hinting at being bright or too luminous.Females take advantage of well-tuned Knowles Balanced Armatures that really dial in that smoothness yet hold enough of a sheen to sound energetic against the rest of the mix. Females are rich with an organic and realistic flare to them. They can sound elegant, svelte, very charming, and polished in their slightly colored timbre authenticity. In the same breath females can sound resounding, vigorous, edgy and boisterous. I find it hard to actually find negatives in this region unless you are after a very brilliant upper midrange.
Females cont…
“Logical” by Olivia Rodrigo is a perfect example of those descriptive words that I just used. Elegant, svelte, charming yet boisterous and even a bit shimmery. The piano behind her vocals sounds rightly natural to my ears and shares the stage very well against her vocals. Another example is Taylor Swift’s track “The 1 (Long Pond Studio Sessions)” from one of her latest album retakes. She sounds feathery and sweet. The Aviation has enough warmth to add to the sensibility within the longing of this song's sentiments. Just enough body to her vocals and there’s an emotional sweetness that envelopes the delicate intonations in the sound of her voice. Her voice is forward in the mix but not overbearing and her vocals don’t cascade or mask over the piano.I really don’t want to oversell here and perhaps I am, but far too often we are bombarded by lean and even sharp female vocals. Also, many iems can replay this track well. Now, whether they can do so in the same tone and timbre like the Aviation is a different story. Still, In the spirit of “not” overselling… I had to at least mention this. Moving on…
Instrumentation
Instruments in this region are up and down for me. Due to the lack of speedy midrange agility, I have definitely come across tracks that sound a bit more compressed. Of course, these are complicated tracks. For the most part the Aviation presents instruments very well. I hear nice texture for instruments (generally) and some good timbral accuracy, albeit slightly colored. Of course, it is what “I” think sounds natural and “accurate”. So… grain of salt. Piano has that bouncy tunefulness on most tracks. Percussion may come across a bit less punchy or crisp, but harmonics are great. Cymbal strikes have weight to them, snares pang with some machismo. Strings could use a bit more immediate bite but again, secondary harmonics sound great to me. Violin is actually very expressive without sounding artificial. Details won’t blow your mind, but this area has plenty of mellifluous musicality to make up for it.Downsides to the Midrange
If I were to pick apart downsides of the midrange, I would have to say that transients aren’t super expedient. Also, detail retrieval is average in my mind, yet still pretty well done per the lusher tuning. Resolution is not perfect but the sound is still pretty clean. Separation can be an issue in congested tracks too. I know that some folks would much more desire a midrange that’s snappy and can handle complicated songs a bit better. Still, the Aviation sounds very nice to my ears.Understand that the midrange has body to it, it’s creamy, it’s weighted. Also remember that this set is $199. There are certainly iems more expensive that can sound lush, smooth and rich yet still come across detailed and articulate, within reason. We have to temper our expectations a little bit and take the good with the not-so-great. However, in my mind the Aviation is a big WIN in the midrange. Personally, I enjoy this set very much. I don’t hear any great sibilance, no shoutiness or crazy peaks. The sound is still relatively energetic while holding tight to the velvet and organic musicality.
Treble Region
The treble is the type which is definitely a good and important supporting actor in a very good cast. I don’t consider the treble to be very luminous or vibrant and I don’t consider the treble region to be that sparkly and spirited “icing in the cake” like some sets. Not even close to the type of treble we often see that imparts forced resolution and oversaturated highs into the equation. So no, the treble is not that shimmery and vivacious treble that adds vibrant life to the upper portions of the frequency. Still, the treble also isn’t devoid of vibrance. It’s there but it’s simply kept in check.I realize this is not coming across as very appealing to many folks. Just wait… Having said all of that, I also don’t feel the treble is boring at all. This is not a lackluster or mundane treble either. There is still plenty of LIFE up top. It just stays in keeping with the rest of the mix, it stays cohesive with everything else. You can’t have this warm and smooth, cozy and thick bass & midrange and then shock the mix with unhinged sparkle and vivacity. That would very much “not” be cohesive, or in keeping with the natural flow to the tuning.
It fits!
The treble fits. It works. The treble region has decent body to notes with a corporeal and distinct substance to them as well. There is energy in the treble that doesn’t necessarily come across as brilliance or… Pizzaz. The sparkle is there, it’s just not super crystalline or ultra crisp. That’s not to say that it can’t come across crisp either. It simply isn’t that heightened gloss, but it doesn’t come across attenuated. It’s non-fatiguing and non-offensive to the ear and does its job.Listening to the track “Keel Over and Die” by Old Crow Medicine Show the Aviation is actually able to keep up with the instrumentation with a tuneful treble. Granted, other sets can speed along a bit easier, but I have no issues with the amount of treble. I could maybe use a bit more of an edge to notes and they could be a bit more delineated between instruments but not even close to bad or a hard “con” in my book. In fact, “Gerri Marie” by Durand Jones has an effervescent quality to the treble and has this slightly subdued brilliance to it. Listening to this track with the Aviation presents a treble with texture, vividness, clarity and does so with good body to notes.
Downsides to the Treble Region
Obviously, the biggest drawback would be for treble heads or those who yearn for a brighter and more extended top end of the spectrum. Also, you won’t hear an ultra-detailed treble from the Aviation. Like I said, it isn’t a crystalline or exact and ultra refined treble. But also, like I said, it fits, and it works to the tuning that QOA was going for. Remember the theme of this set. I feel that Queen of Audio did exactly what they sought out to do. It’s not sibilant, not offensive, it doesn’t have that piercing saw blade type highs and actually… The treble is quite nice.
Technicalities
Soundstage
The QOA Aviation creates a nice mental image in my mind. When thinking of the soundstage, I could sum it up by simply saying that the stage sounds full. I feel like there isn’t any unused space when listening with this set. My entire mindscape is full of music with the Aviation in my ears. The soundstage has a nice width to it that stretches outside my ears with good dynamics. The same goes for the height of the stage. Elements of that stage are presented a bit closer, but the sound is simply big in all ways. And just like the width & height, I get pretty nice depth too. Though the depth is a bit harder to perceive, but without question it’s there. I don’t think anyone would have any great complaints when talking about the stage size.
Separation
Now, separation is one of those attributes that will be greatly affected by what type of music you enjoy. At least when listening with the Aviation in your ears. If you listen to more complicated music, then you may find that separation isn’t as distinct as some other more technically savvy iems. With less complicated tracks separation is wonderful. Listen, the Aviation simply isn’t tuned to illuminate the edge lines and delineate every instrument from the next on congested and speedy tracks. However, I don’t want to dissuade anyone just because there is a little blending happening. This is a regular occurrence, and some sets handle it better than others. Of course, those sets which do separate elements of a stage better will also lose out in other areas. Everything is a give and take, for the most part. Also, again, my words probably sound much worse than what you’ll hear and 8 out 10 of you won’t even really notice. What you will notice is the musicality of the Aviation.Imaging
Take what I said above and apply it here. Imaging is great in less congested, less involved music. The issue is the tuning and the lusher, thicker, more gravy smooth sound of the Aviation. It’s buttery and not as defined and transient snappy which makes it a bit more difficult to navigate those fine lines. The stage is big but it’s also closer to the listener in some respects. Resolution is not perfect either. If I were to give it a “word rating” I’d call the Aviation about average here. However, if I were rating it against similarly tuned sets, I’d say that the Aviation does rather well. Basically, the imaging ability is a by-product of that sweet sound the Aviation has. There are some sets which can do both, have that lushness yet still provide a technically proficient sound, but you’d have to pay more for them. The Aviation is only $199, which in respect to the Audioverse… that’s peanuts.Details
You already know, details are about average and about what one should expect if you’ve read any word I’ve written and trust that I’ve done my homework. The Aviation is fantastic so long as I’m not listening to some rapid fire and heavy music with a huge cast of instruments all playing in concert with each other. Take a simple joint, easier to digest music and I promise the Aviation will catch the finer details well. You’ll hear the dude laughing 10 rows back in your favorite live track, you’ll hear the scrapes of fingers on a guitar string, the edgy harmonics of a violin, the breath in a mic. You simply cannot have a whole lot playing alongside. Again, I would call the Aviation about average in detail retrieval. It’s fine, it’s good enough. The good thing is what you get in return for it… Warm and engaging, dynamic and non-offensive with a penchant to come across very melodic.
Comparison
Hisenior Mega 5P ($239)
The Hisenior Mega 5P is one of those sets that marks a standard at its price point. At least that is what it was for me. The Mega5P has a 10mm Bio-Cellulose Dynamic Driver paired with four Balanced Armature Drivers and I must say… there’s some serious cohesion happening. The M5P is about $40 more in price then the Aviation. I used the Mega 5P because I think the differences are enough to warrant a preference battle here. In fact, these two iems are tuned very much differently from each other. I’d venture to say that they are almost opposites. They certainly have different sound signatures. I feel it helps to explain the Aviation a bit better, but that’s up for debate. I’ll also say that the Aviation has its hands full here as I’m posing it against one of the best iems in the price point. However, the M5P also isn’t for everyone. So, let’s see if we can spot some differences and maybe learn a thing or two about the Aviation in the process.
Differences
To begin, both iems are remarkably made/built and both are absolutely gorgeous in design. Not much separates the two in these categories. The M5P is a bit larger with a bigger internal cavity and so that is something to think about. However, I absolutely adore the way both sets look. As far as “fit”, this is 100% subjective but the M5P fits me slightly better. I realize that didn’t help you at all. Now, the M5P is a neutral sounding iem with a wonderfully natural sound and the Aviation has much more coloration and warmth to it. The Aviation is slightly harder to drive as well. Both sets excel for different reasons. The M5P leans towards a neutral-ish Harman sound where the Aviation boosts the bass, pushes the midrange forward and relaxes the treble. Two different takes to good sound.Sound Differences
I’ll make this brief to conserve my words a bit. Like I said, the M5P is much closer to a neutral sounding iem while the Aviation leans warm and smooth. The M5P is also very smooth in its timbre and approach & has a very relaxed sound. The dynamics are more energetic on the Aviation. More expressive. More musical. Don’t let those words fool you though, that doesn’t make the Aviation better, not by any stretch. Both are very engaging with a very inviting personality. The Hisenior Mega5P certainly has the more resolute and airy presentation across the board. That said, the timbre and note body comes across thinner and less full bodied than the Aviation. No doubt each set has their pluses and minuses. Also, no doubt that each set is a welcome addition to most any collection.Bass Region
The bass on the Aviation is fuller, warmer, more wholesome and cozier. It has greater density and effects the entire spectrum much more. The M5P has a tighter, more focused bass with more of a sub-bass leaning. The M5P has a more clinical and punchy bass region and doesn’t sound anywhere near a one-noted endeavor like the Aviation. The Aviation has that half-circle wide and flat bass with more of a haptic and tactile feel to it and bigger slam. Hisenior kept it clean though. Very clean. The M5P bass region has nice texture and still has good rumble while not leaking into the midrange very much. For me I think the M5P has the more mature bass while not leaving out some of the fun too.Midrange
The midrange on the Aviation has a thicker and lusher replay while coming across more emotionally charged. The M5P on the other hand is more separated, technically conscious, clean and resolute in its midrange with less note body and a shimmery upper-midrange. Both sound energetic but for me personally I’d go with the Aviation here. That could change a day from now so keep that in mind. The note body/density and the realistic structure to notes helps vocalists come alive in my mind. Both sets do the midrange very well, albeit they also do so differently. However, I do like both sets for different reasons. One thing’s for sure, both the Aviation and the M5P are at the top of the heap when it comes to overall midrange presentation.Treble Region
The treble offers some large differences between the two sets. First, the M5P has the more emphasized and better extended treble while the Aviation has a slightly more relaxed treble with better note body and better texture to individual notes. However, the M5P certainly has a more detail-oriented treble with faster transient attack/decay.Technicalities
I find the soundstage on the Aviation to be generally fuller though both sets have a nice stage. The Aviation presents things closer to the listener while the M5P are seated a bit back. Both are wide, tall and both have decent depth. The M5P has the more detailed playback with better separation and imaging.In the end
Honestly, I love both of these two sets. This was kind of an unfair battle actually. The M5P is more of an all-rounder type set. The Aviation is a bit more polarizing I would say. I actually think of the M5P as my palate cleanser set. So very neutral, very clean, well balanced across the board. So yes, perhaps this was an unfair comparison. What doesn’t come across in my little comparison is the utter joy the Aviation brings in listening and the fun within its replay. The M5P is much more analytical in its approach, while the Aviation is much creamier, weighted and engaging in my opinion. Again, I love em’ both.
Is it worth the asking price?
This is 100% a question of preference here. I will always answer only for myself, but if I were to answer for the community then I would likely have a bunch of folks who don’t agree with me. We are all so different. So many of you love a clean, resolute, neutral and technically adept sound and I get it. I too love that type of sound. Thankfully, I also love a warmer and more boldly dynamic sound too. I suppose as a reviewer it does pay to like just about every sound signature, or else I’d probably be alienating a lot of hobbyists in each review. And probably leading a lot of people astray. I want to keep it 100! Saying that, there is no way I could have listened to the Aviation for the past two weeks and come away saying that it isn’t worth the $199 QOA is asking for it. I’d be lying if I did. Also, I’m not one of those reviewers who believes I have to put things down to gain respect from the community. Keepin’ it 100…Honestly, this set is awesome to me.The Why
If I were to give you my reasons why the Aviation is worth the $199 that QOA is asking I would first state that this set is built very well, premium in its all resin feel and very solid in hand. Good builds just feel different. Next, I’d say that the QOA Aviation is downright gorgeous. Find me a set that is blatantly more beautiful than the Aviation around its price point. I’d also state that unlike so many iems that are sitting pretty in the $150 to $250 range there are far fewer that take on this type of tuning. So, it will complement most collections I would think. Lastly, the biggest reason “why” the QOA Aviation is worth the asking price; what we all pay for… the sound…Every last penny
The Aviation offers such an immersive experience with its dynamically expressive and wholly rich yet organically skewed timbre and fun coloration. The midrange is an absolute gem! Vocals are so well structured and very melodic. This isn’t your average Harman tuning here folks. This set presents a musically seductive appeal with rich undertones, fullness of note body too. It’s both fun and relaxing at the same time. No odd peaks, no horrible sibilance and no veil. Yeah, there’s some technical shortcomings but I couldn’t imagine losing any of this set’s musicality just for some heightened details. It’d be a tragedy. The Aviation is a very well done iem and it’s worth every last penny. My opinion.Could go either way
Of course, there are plenty of great iems that hover at or around the Aviation’s price point. There’re many Harman style sets, some nice planar iems, and some V-shaped baddies too. There’re sets that are much better technically, more energetic as well and the list goes on & on. I could very easily see some people not enjoying the Aviation at all and I could understand it too. This set isn’t for everyone. It simply isn’t. I wouldn’t even call it an all-rounder type listen. So, I could see the answer to this question going either way.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the QOA Aviation ratings below, that would be $150-$220 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an earphone what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against, this is important. $150-$220 US is a decent sized scope of iems and so seeing a “9. 0” for instance, should be something special. My ratings are never the same, never cut n’ dry, and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.0 Build Quality is great-Look: 9.8 The design of this set is near top in class
-Accessories: 9.7 I love a brand that doesn’t skimp on accessories
–Overall: 9.5
Sound Rating
-Timbre: 9.1 The timbre and tonality are fantastic.-Bass: 7.8 Nice supporting bass but not the star of the show
-Midrange: 9.8 The bread & butter of the Aviation.
-Treble: 8.1 Great treble timbre, body, presence, lacks brilliance.
-Technicalities: 7.2 Great stage but lacks other technical aspects of an iem
–Overall: 8.4
Ratings Summary:
I’ll definitely have to explain myself here. I tested the Aviation against any iem within the $150 to $220 range. I think we can all agree that this is a very competitive price bracket. Go through the list of iems! Let me know when you’re finished tomorrow. It’s long and many sets perform well. You really shouldn’t see a whole lot of ratings past a 9.0, so if you do, there’s a good reason for it in my opinion.To start, the “Timbre” could go either way. It has an organic hue but there is quite a bit of coloration to the sound. I’ll call it “Organic-Dynamic”. Anyways, the timbre is great, and I believe this set deserves this rating. The “Bass” speaks for itself, it’s good but has some very slight issues. Against the competition ($150-$220) I feel there are many more which ranks higher. The “Treble” also speaks for itself. Again, it’s good but isn’t top notch to crest that 8.5 barrier. I think an 8.1 is deserving. That brings us to “Technicalities”. Honestly the only saving grace for this rating is the soundstage. If that was to the same level as the other Technicalities, then this Rating would likely be closer to 5 or 6. However, in the grand scheme of things an “8.4 Overall” is a very high score considering the price point. I suppose this is another set where the ratings really don’t tell the whole story and to really get to know a set… it takes a bit more nuance than a few numbers.
Conclusion
To conclude my review of the QOA Aviation I have to again thank HiFiGo for providing this set and for always acting as true professionals. HiFiGo happens to be a place that I’ve spent way too much time and purchased many sets through. So, to be able to work with a company such as this while never once asked to skew my words is nice. I’d have it no other way. Instead, I’ve only been asked to write my truth on the page. I also want to thank anyone who clicked the link to check out this review. I truly hope I can help you out in making a decision. $199 is not cheap by any measure and for so many that is a long time of saving money to be able to afford. Therefore, we gotta get it right. $199 is a fortune for the vast majority of our world and I can surely say that I’ve given you my exact thoughts.Other perspectives
With this understanding I also want to push you all to get 2nd and 3rd opinions. Do not simply read my words and hit the buy now. I’ve said it a hundred times; we are not all the same! We have different music libraries, different gear, different abilities to actually hear the music and we have not all been down the same journey in audio. So please, do yourself a favor and take in other thoughts.This is it folks, the QOA Aviation is a very well-tuned iem that has its place amongst some of the best in the price point. I truly believe that. Even if the sound signature isn’t what you enjoy, it’s hard to argue with how well QOA crafted and tuned this set. I hope you all are well and good and relatively safe, take care and God Bless!
KZ ZAT Review
KZ ZAT ($78)
Intro
Hello, the earphones that I’m reviewing today are KZ‘s latest Hybrid in a very long line of hybrid iems, the KZ ZAT. The ZAT came to me when I least expected and I was completely caught off guard by this one. The ZAT is a 1DD 8BA hybrid with a very masculine and confident look to it. I do want to thank KZ and Tyvan Lam for providing the KZ ZAT in exchange for a full written review as well as a feature at Mobileaudiophile.com.I have been utterly impressed by KZ of late. Truly this company has steamrolled through every price point creating iems that rival and compete well against any in their respective price segments. I’ve reviewed many (KZ iems) over the course of the last few years and if I’m being totally honest…I haven’t reviewed a set that I don’t think is worth the asking price. From the KZ Krila (Krila Review), KZ ZVX (ZVX Review), KZ D-Fi (D-Fi Review), CCA Duo (Duo Review), KZ EDXS (EDXS Review), KZ PR2 (PR2 Review), KZ AS16 Pro (AS16 Pro Review), KZ AS24 (AS24 Review), KZ Linglong (Linglong Review) KZ PR1 Hifi (PR1 Review), CCA CRA+ (CRA+ Review) among many others. Folks, all of these sets are very well done for the price being offered to own them. In fact, the trend is that KZ makes incremental improvements with each new set.
They aren’t going anywhere
KZ/CCA has been an absolute fixture in the Audio community for years and whether you love them or not… They aren’t going anywhere. This is a company who flies in the face of “audiophiles” constantly making earphones that re-invent standards and raise the entire industry as far as price to performance. Like it or not it’s KZ who drives the competition in the budget space. I would venture to say that they are the majority owner of the real reason that under $100 iems have gotten so darn good the last few years. Brands have to perform to keep up. As it should be. Honestly, it’s the consumer who wins in the end. Like em’ or not. Yes, they are rather aggressive in their promotional material but if that’s the worst we have to deal with to get great affordable iems… So be it! That all said… The KZ ZAT everyone…
< 1x
Left to right: Ifi Go Blu / Moondrop Dawn 4.4 / iBasso DX240 / Shanling M6 Ultra / Hidizs S9 Pro
Gear used for testing
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
The unboxing of the $80 KZ ZAT is a bit lackluster. Okay, it is a lot lackluster. Really there isn’t much to say here as you get the usual KZ box. Open the box and you’ll see the sweet looking ZAT earphones. Under the top layer you will see the rest of the accessories. That is the cable as well as the eartips. Nothing special to report here friends.
6.6x
6.6x
Eartips
Inside you’ll receive three sets of KZ Starlines along with a pair of foam tips. I actually love the fact that KZ is still providing Starline tips, and I will most surely use them within my collection. However, I found the KBear 07 tips were the best pairing for me. I’m sure many other tips will do the trick but for me it was all about fitment and getting a good seal. This set is the exact shape and footprint of the AS24. Sound wise I feel the Starlines are perfectly fine, but I just could not get the right side to seal well. If I didn’t move at all then the sound was great with the Starlines.
Cable
The included cable is the same KZ cable that comes with every KZ earphone. Whether the set costs $10 or $100 you are getting the KZ cable. It is actually perfectly fine and serves its purpose but really needs to be better than this. This is one area that KZ seems to not have their ears on the pulse of the hobby. Cables matter and this cable is just… meh. It’s the same QDC style 3.5 single ended opaque white silver-plated copper cable with the flat design. I swapped cables first thing and began using a 16-core Fedai SPC balanced cable for my balanced sources. For anyone that is going to use the included cable; honestly it isn’t bad, it does the trick and works as intended. Also, it isn’t an ugly cable. still, I really want to see a KZ earphone packaged with a very nice cable though, who knows maybe one day. Let’s take it to the next level KZ!!
I should also add that KZ does give the option for a cable with a mic. I have used KZ’s mic’d up cables in the past and believe it or not the mic doesn’t sound bad at all. Also, you can control your music through the button on the microphone housing.
Build / Design / Internals / Fit
Build Quality
The KZ ZAT is flat out built like a stud! KZ decided upon a very robust alloy faceplate with a diamond plate design carved into it. The faceplate is screwed into place using three screws. The housing and entire acoustic structure internally which makes up the shell was achieved through the process of 3D printing. Very intricately done. On the back side of the Shells is the four dip-switches. The nozzles are a hair longer than most iems but they feel solid, and they are capped off with a white screen mesh. The build quality is there. This is something that KZ doesn’t skimp on. So, when I’m wishing for a better cable, I can see where that extra money is going to. Really the ZAT is built like a house. To add to that, the ZAT has some weight to them but not overly hefty. They won’t fall out of your ears anyways. You can always count on KZ providing a good build.
Design
This is where I feel that KZ really nailed this set. The ZAT looks very masculine and bold in design. The diamond plate faceplate looks flat out tough with each indentation of the diamond plate pattern painted deep blue which adds a dope contrast to the shiny silver. I love that you can see straight through the slightly marooned-out shells and get a peek at what’s inside. Truly a very well-designed set. Of course, this shell shape and mold has been used before as I just did a review on the KZ AS24 which has the identical housing shape. I think the ZAT is a cool looking set. It isn’t overtly glamorous like the AS24 but it’s simple and bold and I like it.
Dip-Switches
KZ is still on the dip-switches kick. I know many roll their eyes over the latest switch craze. However, KZ really seemed to dial them in over the course of the last few sets. They make them simple to understand and use. With four switches there are a number of settings to use though many of those settings will run-together. Basically, there’s about four switch setting configurations that makes the most sense. “Up” means “On”. “Down” means “Off” for the purpose of this review. I won’t go heavy into detail of what each setting does. It just takes too long and honestly; you can figure them all out and play with them when you pick this set up. I’ll do a general run-down of what they do though.Basically, the first two switches seem to affect the bass region while the second two switches seem to affect the upper-mids to highs. KZ does provide a pamphlet with the settings and what they do. Still, If I’m going by past KZ dip-switch settings then the first two switches likely will increase the bass region (as a whole) by 1-2 dB’s each switch. The upper mids are the same. Both of the next two switches likely increase the upper-midrange to lower treble by 1-2 dB’s each switch. So, you can imagine how you could change up the sound by flipping switches. I cannot say this is the case for sure (how many dBs added) but from what my ears tell me I do think this is about right. I can say for sure that the treble seems not too much affected other than how the treble reacts to other frequencies getting boosts.
UUUU
In this setting you get a mostly V-shaped to U-shaped sound with a boosted bass region, boosted upper midrange, and the treble already has a boost as it is. This gives more emphasis to the upper mids which can add some slight glare on the right tracks. I don’t mind this setting, but it isn’t my favorite. There’s definitely some peekiness and shout on a couple of my tracks but those are few and far in between. Not bad. Perhaps a bit bright and too energetic in the upper midrange. I can tell you for sure that this isn’t the most natural configuration.DDDD
I actually really enjoy this setting. It is the most balanced of all and closest to something like the KZ AS24 that I heard. You get a mild bass presence but a nicely airy sound. I like it. Is it my favorite? No, it isn’t. However, I got used to it easily. Definitely the most balanced of all with a clean and detailed upper frequency and a moderately punchy low-end.UUDD
This is my preferred way of listening to the ZAT. I just think that adding anything to those upper-mids presents a problem on some tracks. Not all, but some. I think the rise of the bass does well to offset the emphasis up top. The sound is more organic and there is some much-needed warmth as well. You get some good thump down low as well as some above moderate rumble. Nothing Bass-Boi caliber but emphasized, nonetheless.DDUU
Just don’t do this. It is bright, forced almost. I could see some folks liking this, but the sound is thinner and a bit more artificial sounding. The spectrum is more one sided to the “right” and at least for me it becomes very sharp, too crisp and grating in the upper portions. Especially on songs prone to glare.UUUD
This is another pretty nice combination. There is the full boom of bass emphasis as well as a nice spike in the upper-mids. For whatever reason as long as you don’t increase both the #3 & #4 switches then you are okay. Maybe? It’s just a bit airier and more energetic in the UUUD configuration. Bass is nice in this setting as well and it’s a pretty well-rounded way to go. Perhaps it’s a bit too energetic in the upper-mid/pinna gain area, but it isn’t bad at all. I did use this setting a bit.Internals
Inside of the ZAT you have a number of Drivers folks. Nine to be exact. That’s 1DD and 8BA’s! That’s a lot of drivers to tune! KZ chose to use an 8mm Dynamic Driver of unknown material (at least I can’t find it anywhere). The mid-frequency array was done using #29689 BA’s, the mid-high frequency is taken care of with multiple #30019 BA’s, and the ultra-highs are being played back through multiple #31736 BA’s. Internally you’ll see the tubing connecting to the nozzle. KZ used a precise three-way crossover within the multi-channel acoustic cavity. I do feel that KZ is upgrading their drivers as well as learning to tune them very well.
Fit
The fit is quite literally the same as the KZ AS24. So, if that set fit your ears then you are in business. I for whatever reason am blessed with ears that seem to get a good fit no matter the earphone. I don’t know why. That being said, I have zero idea if these will fit your ears or not. They fit me like a glove. Oh, and by the way, isolation is actually very good in this set. The ZAT are moderately heavy, not super light but they also fit deep into the ear, so it doesn’t feel like any weight at all. 
Drivability
he KZ ZAT is a very easy set to drive. Rated at an 11–18-ohm impedance and a sensitivity of 111+3dbs makes them very sensitive. Really, I have zero issues driving this set off of most of my gear. Using something like the iPad sixth gen I was able to bring the ZAT to volume pretty well. Granted it isn’t the most audibly gifted unit so, it does help to have a better source. However, power requirements aren’t very dire. Listening with the IFi Go Blu, the Moondrop Dawn 4.4, or the Hidizs S9 Pro was a breeze as the ZAT seemed to marry well with all three of them. I would say that any source with a bit more warmth would pair better but that is not necessary. Listening with the iBasso DX240 was very nice but I found the timbre to be a bit unnaturally tainted. Not bad by any stretch but I have the Shanling M6 Ultra which is warmer, more velvet and richer in sound so between the two I definitely liked the M6 Ultra better. As far as power goes, I would say that you do get some boost of separation and macro-dynamic fullness with more power. Don’t leave out the ability of the source and synergy to boost your listening experience. I certainly found that the ZAT was very much capable of scaling to both the extra power (to a degree) as well as the quality of the source.
In the end
At the end of the day, just get a decently powerful source with a nice sound and you’ll be good. I’m not going to go into how each source sounded paired with the ZAT because we don’t all have the same gear and it’ll mean nothing to many of you. I do like slightly warm to warm/neutral sources a bit better, but that’s me. You may feel differently.
Sound Impressions
Note: I want to preface this section with a few things. First, I burned this set in for about 30 – 40 hours. I did notice a slight tightening of the bass region and some of the artificial sound in the upper areas of the mix died off. I listen only to flac or better files stored on my devices and use UAPP (primarily) as my music app along with Hiby Player (at times) and Poweramp. In a nutshell, I hear a very full sound and a very exact & coherent sound from the ZAT. There’s a seemless transition from the DD to the BA’s and the sound is nicely refined for the price. There’s actually a lot of similarities between the ZAT and with KZ’s other flagship, the KZ AS24. The similarities are mostly in the actual tone & timbre and macro-dynamic energy. They are very similar in some ways and different in others. One way the ZAT is somewhat similar is the very musical sound that it has. Both sets arent dull at all. Both have plenty of vibrance and both are speckless in their resolve. I also think it’s very important to note that I don’t think this is a set to listen at extremely loud levels. It can get a hint too bright. Especially in any setting other than “UUDD”. Granted, I listen pretty loud so…take it with a grain of salt.
Get it dialed in!
The ZAT is a very clean sounding slight V-shape to U-shaped set. I wouldn’t be surprised to hear folks say that it’s even W-shaped depending on switch orientation. The sound can be nearly organic to slightly artificial as well, depending on the switch settings. Truly, a lot depends on what sound signature you like to listen to. It can go from warm/neutral to almost bright, and everything in between. However, one thing I can say for sure is that the KZ ZAT sounds fantastic when you get them dialed in to suit your wants and needs sonically.Quick look between the 20’s
I must add that my impressions are in the UUDD or UUUD setting configuration. They don’t differ all that much. Just a hint of brighter pap and smack to certain instruments with the extra switch enabled. That extra upper mid zest does add some zing to the sound. However, for the most part they come across very similar. Anyways, the bass is nicely emphasized. The ZAT has some thump. It’s a quicker bass but it also has a nice decay. Certainly not like the BA Bass of the AS24. It holds its release of each note a hint longer. The midrange is pretty forward but not enough to call it mid-centric. Vocals are a hint thin but very nice sounding for the price. Very musical. The treble area has some zing and some bite with good extension. Even with the last two switches down. Detail retrieval up top is very easy to discern and altogether I feel that the treble does a good job of adding some vibrance to the mix. The stage size is above average and there is some depth and imaging are fantastic.If the quick sound impressions are all that you read just know that the ZAT is a very well-rounded set. Possibly it may be a bit too bright for some. Maybe some will want more low-end. I could see some folks wanting more warmth for better note body. I could see a lot of subjective gripes, but the truth is, the KZ ZAT is a well-tuned iem that will please anyone who enjoys this type of signature. KZ keeps upping their game and they prove it set after set. Obviously, there are always issues but the KZ ZAT will definitely compete at the $70 to $100 price point.
Bass Region
The low-end is either just past neutral or moderately boosted. This is in no way a bass-boi/basshead iem. Not even close. If anything, I want more in the low end. Still, it has more thump and authentic oomph than something like the KZ AS24. I love that set too! Love that BA Bass! But you cannot replicate the sound of DD bass like you have on the ZAT with a BA. The ZAT has some slam to it. There’s enough elevation to carry most genres pretty darn well. It can thump folks. Just not in an ultra-colored and bass dominant way. This is a mature bass region with a high-quality bass for the price. It’s quick enough to move through fast bass passages of music and it’s slow enough and atmospheric enough to let the hip hop bass drop linger a tad. It’s not bad. Sub-Bass
I find the sub-bass has plenty of guttural growl to bring upon the “feeling” of the low-end. Listening to “Groove” by Ray Wylie Hubbard it is clear that there is enough elevation to authoritatively rumble with some tactility. “Paradigm” by The Head and Heart is another deep bassline that has all the feels. The ZAT has the adequate extension into the lowest if lows to carry some nice vibrational resonances. Certainly, this is a tight sub-bass that isn’t even close to one-noted.Mid-bass
The mid-bass also has enough slam and boom to easily cover a track like “2040” by Lil Baby and Lil Durk. It’s satisfying folks. Also, the deep and forceful kick drums in “Billie Jean” by Weezer (MJ cover). The ZAT actually has that hollow boom and a tacky note edge. It sounds very nice. Bass guitar has just enough body and fullness to replay it well on most tracks, bass vocalists do have enough weight to their voices to sound sonorous and commanding.Downsides to the Bass Region
I could certainly see many of my friends in the hobby wanting more of a bass presence. A warmer and thicker presence. A heavier boom. I could also see some folks thinking that this is too elevated. It’s somewhere between the two extremes. Honestly, I think the bass is great for what it is and what it was tuned to be. It’s a bass that can handle quick bass sets and the bass has pretty nice macro-details. The note edge is not soft and note body is not hollow or weak. To be honest, the ZAT bass is a better version of the AS24. In my humble opinion.
Midrange
As a whole
The midrange comes across neither recessed nor too far forward. Perhaps more forward than most. That said, there is a nice rise in this region which enables a cleaner and more vibrant midrange. I found that when both bass switches are up, you’ll hear some very rewarding bleed into the midrange. It’s never bothersome or muddy, but instead it’s an additive to the midrange. Not a detriment. There is some slight added warmth to male vocals and instruments. Separation between instruments is very well done as the midrange does have decent control with a tight transient attack & release. The midrange comes across with a tinge of knife-edge timbre, a little crisper at the note outlines. However, very nice. There is some smoothness but teetering to the crisp side… so be aware of that. The midrange is also lean-lush in the overall body of notes for both vocals and instruments. Especially as you move up the midrange. However, there is still a ton of musicality and a sense of mellifluous inflection in both vocals & instruments too. It’s clean and detailed and more exact than it is milky and smooth.Lower-midrange
Starting off with male vocals within the lower midrange I find that there is an uplifted sense to this region. There’s an intensity that is very vibrant. I would say it’s not the most organic. Not bad at all either. I would definitely like a hint more warmth here but for the most part the sound is absolutely crystal clear. Truly. In the track “Bless the Broken Road” by Home Free it is ridiculous how resolute the sound is. I can pick apart every last finite and subtle thing. The details are great. The vocals in this track have enough richness to not come across “artificial” while they toe-the-line between sharp and crisp. The overall body to notes has some girth for male voices which I find very well done. Honestly, with the “UUDD” settings I find males to sound endearing yet at the same time they are exact in transient agility. It’s a very well done tuning for the price, but also… it’s a particular type tuning.Upper-Midrange
Female vocals have plenty of shimmer and are very airy. Maybe a hint too pronounced, especially listening to sharper tracks and the brighter dip-switch settings. Definitely this is not a set for anyone who is allergic to a more vivacious sound. Females sound very much uplifted. “Stampede” by Jess Williamson sounds very clean. Not analytical but clean. Not sterile either because there is still some level of softness within the zesty brio of her voice. There is most certainly some lushness in the melody of her accentuation and intonation within her vocals which bolsters the clean note edge. These BA’s within are very exact, yet still allow some semblance of velvet silkiness in a female voice when a track calls for it. Kelly Clarkson sounds very nice on the ZAT. She is forward and has great presence in the track “Down To You“. She sounds smooth and buttery with plenty of shimmery energy. Honestly females sound great to me.Instruments
Most instruments come across very well separated against any song’s backdrop listening with the ZAT. Strings can be a hint less full in sound yet with great harmonics and they are very well detailed in general. Percussion is very stentorian, with a good punch and charged pang, pap, or tisk. Violin has that edgy feel with plenty of body. Piano generally is resounding and tuneful enough, and again… very well detailed. Secondary harmonics may be lacking a bit from the tight transient decay of the BA drivers but that really isn’t something most people would ever notice. Most instruments are nicely vibrant without coming across too thin, or brittle, or glassy sounding.Downsides to the Midrange
If I were to pick apart the midrange, I would first say that it lacks the fullness that more warmth could provide. While not predominantly thin, I definitely don’t consider the midrange rich and lush. Compared to the AS24 I would say the ZAT is a bit crisper sounding, yet also the ZAT probably has the higher resolving capability. There is also a hint of extra coloration in the upper midrange that does come across as “Not” entirely natural or organic. This isn’t enough to bother me because the midrange has way too much that it does well. Also, it’s only slightly non-organic. Very detailed, not sibilant, not recessed, and not flat… not even in thee slightest bit. Macro-dynamic exuberance is very high with this set and the sound is very fine-tuned and precise. However, I can tell you right now that this is not for everyone.
Treble Region
The treble is accentuated and emphasized with very nice extension bringing upon a lot of good info past 10k. This is a highly resolving treble with loads of details. The treble region of the ZAT also has some decent treble bite. Possibly, the treble may lack a hint of note body, but I don’t see this as a real issue at this price. Also again, with the right switch settings the sound can be a hair sharp and even slightly piercing at times for some people. This is an uplifted treble that has very good control. Honestly, I really enjoy the “UUDD” switch settings as the low-end emphasis is just enough to offset the sound up top which renders the treble region lustrous and shimmery but not as peaky or ear-gouging. There is a ton of zest and life up top with very nice energy which just adds to my music. Speedy Treble
Listening to Billy Strings “Secrets” it’s almost effortless for the ZAT to navigate through Billy’s rapid fire string play. Or the track “Bishop School” by Yusef Lateef. In this song the treble activity is in abundance and the ZAT handles it like a champ. Each and every instrument is well separated and distinct. I don’t want to oversell this set as it is an $80 iem but for what it is, it’s good. Honestly, KZ tuned this set to be very dexterous and catch any little modulation or intonation to any sound, be it an instrument or a vocal set. The treble is speedy, it’s highlighted, it’s very well separated, and you don’t get that mishmash of treble sheen that can happen on really complicated tracks. For the most part.Downsides to the Treble Region
The biggest drawback to the treble is that it can get peaky. I can handle a very bright set and be happy with it. Somehow, I’ve developed that over the course of reviews. Trying to understand and find joy in every sound signature. However, this treble is simply vibrant and sometimes a bit too piercing. I could see a person becoming fatigued listening to the ZAT for long periods. Especially at higher volumes.
Technicalities
Soundstage
The soundstage is just about average. Maybe a bit wider than usual for an $80 set of earphones. However, it is a nice stage. There’s plenty of height and depth to give a realistic and nicely portrayed mental image. I can say for sure that nothing feels congested at all and nothing feels cramped.Separation / Imaging
Separation of elements within an imaginary stage are very well done. There is exactness in the note definition on the KZ ZAT. It’s clean throughout. Transient response is on the leaner and quicker side. Also, you don’t have any one frequency taking over the mix to blur the field of sound. Honestly, I think that separation of instruments and voices is most certainly a “pro”. The same goes for imaging. The KZ ZAT really does nail down these two attributes very well. I hear nothing out of place or skewed from left to right. Layering is there as well which is a product of the good depth to the sound. So left to right, front to back will yield good results. Nicely done KZ.Details
This is where the ZAT excels. The detail retrieval is very good. Of course, this comes at the expense of some added brightness but as far as detail retrieval is concerned the ZAT will go down as one of the better sets in the price point, and probably above. Details are illuminated very easily on this set.
Comparisons
Note: to keep the word count down I am only going to make very general and quick observations. It is imperative that I keep my reviews to a decent length. I will not go too in depth and won’t dig very deep but instead I’ll make a blanket quick comparison. Also, I don’t make comparisons to pose one set as better than the other. I compared to show the difference so that some folks can better understand the set I’m reviewing. Truthear Hexa ($80)
The Truthear Hexa (Hexa Review HERE) was another of those iems that set ablaze the under $100 price point with a sound that was very much missing in the price segment. The Hexa is a 1DD / 3BA Hybrid iem which is tuned very well, built nicely, and has a sleek and understated look. It’s just a nicely done iem across the board. Now, does it fit everyone’s preferences… most definitely it does not. You couldn’t find two people in a row agree about that set. It seemed it was either the best thing ever or the worst. Very polarizing. I for one love the Hexa and find its replay quite nice. Let’s check out the Hexa next to the all-new KZ ZAT.
Differences
First major difference that you’ll notice is the size difference. The ZAT has a lot more to fit into its acoustic structure. The Hexa is much smaller, thinner and not as bulky. The look of both sets is pretty cool though I am liking the ZAT look a bit more at the moment. Like most sets that are put against a KZ set… the Hexa is accessorized much better. Better cable, tips, and you also get a soft leather pouch with the Hexa. I find the Hexa is closer to neutral in tonality whereas the ZAT is more like a warm/neutral sound with a splash of brightness.Sound Differences
The Hexa sub-bass has a deeper and more extended rumble, but the ZAT has the plumper slam and boom of the two. Both are tight bass regions, but the ZAT has the firmer and more emphasized mid-bass. The midrange sounds more forward on the ZAT though both sets present good midrange efforts for the price. I really enjoy both iems in this regard. The ZAT has a slightly weightier midrange with better warmth for males. The Hexa is a bit smoother yet also duller to my ears while the ZAT has a bit more energy and vibrance. This extends into female vocals where the ZAT has some shimmer and vivacity that the Hexa doesn’t have. The treble region of both sets has an energetic rise but it’s the ZAT that has better bite and a bit more punch up top. I find the Hexa has better extension though. Both sets offer very good detail retrieval in the treble region with the ZAT just edging the Hexa out for being slightly more resolving.The soundstage if the ZAT is wider and has better depth while the Hexa stands about average in this regard for the price. Separation is very well displayed on both iems as well as imaging. However, the area that surprised me was in the detail retrieval. I actually think the ZAT outperforms the Hexa on many of my test tracks.
In the end
When all is said and done this is another battle that will be won in the preference of the listener. Both are awesome iems in my opinion but the difference between the two is large enough to warrant a preference battle. The ZAT simply has more energy and liveliness whereas the Hexa is a bit more balanced across the board. The ZAT is certainly the more fun sounding set of the two yet still retrieves very nice details in my music. For different reasons I enjoy both of these iems. I like the Hexa because it’s easy going, non-fatiguing and clean with great technical chops. The ZAT on the other hand is easy to like because it has that sprightly energy and the very resolving sound that doesn’t skimp on the bass region as much.
KZ AS24 ($109)
The KZ AS24 (AS24 Review HERE) was one of the better surprises of the last year for me. I truly regard it as one of the best sets in its price point. It is a 12 BA per side earphone that has a wonderful balance and great tonality. It’s shaped identical to the ZAT that I’m reviewing today actually. I realize I said that the ZAT is likened to the AS24 with DD bass, but I slightly have changed my tune. Both sets are phenomenal in many regards but there are some differences.
Differences
Shaped the same, same size, the ZAT however is much less extravagant in its look as the AS24 is much more on the Bougie and glamorous side of things. Both sets have nearly identical packaging & accessories, and both are close in price. I find the ZAT to be a bit brighter and not as smooth as the AS24 but there are more similarities than not.Sound Differences
Beginning with the bass. The ZAT has a much more textured and deep bass. As much as I love the AS24’s good BA Bass, it doesn’t compare to the ZAT’s Dynamic Driver low-end. The ZAT has better oomph, slam and is more atmospheric. The midrange of the ZAT is more forward by a slight degree. I also think that the ZAT has more of a crisp edge to its midrange whereas the AS24 is smoother. Females are brighter on the ZAT, and males have a slightly richer note weight. The treble of both sets has about the same extension up top past 10k, but I find the ZAT has a hair more of an emphasis. The AS24 has better body but less punch and bite than the ZAT. The ZAT also has the more detailed replay in my opinion. I find the ZAT to have a slightly larger stage and with better depth and both sets have fantastic imaging and separation.In the end
I honestly don’t know which set I like more because I like them both. The smoother sound of the AS24 is wonderful, but I also enjoy the low-end of the ZAT a bit more. Both are phenomenal for their respective price points; both represent great sets for any collection with plenty of clean musicality. Honestly, these two are very similar in sound with very little that separates them. It took a very long time of listening to spot the differences. The easiest to spot is obviously the bass but note definition of the ZAT is definitely crisper and more defined.Aful Performer 5 ($219)
The Aful Performer 5 (P5) (Mahir’s P5 Review Here) quite literally took the hobby by storm about a year ago with reviewer after reviewer lobbying to get a shot at this set. The hype train was alive my friends. The P5 is a five driver Hybrid iem with a very nice timbre and tonality and a nice balance across the mix. Built beautiful with an all-resin design it is a true player at the $200 price point. The P5 certainly had those who adored it as well as some serious detractors. However, let me assure anyone reading, there’s nothing wrong with the P5. It simply doesn’t fit everyone’s perfect preferences. Like any iem. That doesn’t make it bad.
Differences
As far as what separates the KZ ZAT and the Aful Performer 5. Other than a huge price difference of roughly $130 give or take. The P5 is much more expensive and the P5 is a 100% all-resin earphone that is really built wonderfully. Granted, so is the ZAT. The P5 obviously has a much better cable, eartips, basically all of the unboxing trumps the ZAT in every way. Which I’m assuming we all expected. However, the main differences begin to really make their mark in the sound department.Sound Differences
The P5 comes across more neutral, safer, a bit flatter and less dynamic past the bass than the ZAT. Beginning with the bass, I find the P5 has a bit more in the tank with a heftier slam. However, that slam is also more pillowy and fluffier than the ZAT. The ZAT has more punch down low with less in quantity but a bit more in texture. The midrange of the ZAT is more forward and energetic while the P5 has a smoother midrange. Males on the P5 have more note girth and weight but also females come across duller. I find detail retrieval in the midrange goes to the ZAT. The treble region of the ZAT has better resolution, detail retrieval and flat-out pep. The ZAT simply has more emphasis and the crisper treble. This doesn’t inherently make it better either so don’t read it that way. In fact, the P5 is less fatiguing but also less crisp and has less bite. Basically, the P5 has the safe treble while the ZAT took some risks. Details come about easier on the ZAT and both sets offer about the same stage size.In the end
At the end of the day, this was not a battle at all but instead a comparison to help explain the ZAT. The ZAT is simply more energetic across the mix while the P5 is toned down, easy, smoother and maybe a bit safe in comparison. The ZAT has that quick attack, sharp release macro-dynamic energy that sounds fantastic for what it is, and I could absolutely see folks choosing this much less expensive KZ hybrid over the >$200 Performer 5. In the same breath, those who want an easier listening sound, with a bit more low-end muscle, and a smoother note body will likely find a home with the very well-tuned albeit much more expensive Performer 5.
Is it worth the asking price?
Here’s the $80 question, is it worth the price that KZ is asking you to pay for the KZ ZAT. Friends, if the tuning seems like it fits you then I’d say this is a no brainer. It is an extremely well built iem that looks dope with working dip-switches and it sounds very good for the price. Ya know, there was a Facebook post where I said this may be KZ’s best set yet. I don’t know if I agree with my own words, but I will say this, the ZAT is a very well-conceived and well-crafted iem. Truly if the sound signature fits what you enjoy then I’d say the ZAT competes at a much higher price. That said, not everyone will enjoy the ZAT as much as the next guy. I do think this is one of those sets that you either really love, or you don’t. However, for me, I think the ZAT is absolutely and positively worth the $80.The Why…
Like I said, it’s built in a very durable fashion with a tough look that you won’t find on any other iem. That diamond plate pattern with the blue is freaking great. Really a nicely designed iem. The ZAT performs at a very high level. I’m telling you that the ZAT is a highly resolving iem that sounds very clean across the board. From the bass through the treble, you have a clean replay. It’s also very energetic with a “quality” Bass region, a detailed and pleasant midrange and a vibrant and technically savvy treble. The stage is a big size, the imaging is absolutely spot on. I mean this set performs Technicalities like a champ. Really a nice set.Of course, not everyone is going to want this brighter hue to their music. Not everyone is going to want a transient quick and snappy sound. So many of my friends desire a warmer and more rich sound which the ZAT simply cannot provide. Many of my friends want a bassier sound rather than this moderately emphasized bass on the ZAT. I really think that you will go one of two ways when listening to this set. However, I’m a reviewer and it’s my job to figure it out. Also, I don’t figure it out to please me. I put myself in other people’s shoes and look at how KZ did… with what they were trying to accomplish. I can look past my own likes and dislikes and look at something for what it is. Also, I honestly enjoy all signatures. That said, the KZ ZAT is a set that does very well at the price of $80.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the KZ ZAT ratings below, that would be $50-$90 hybrid iems. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an earphone what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against, this is important. $50-$90 hybrid models is a fairly small scope of iems and so seeing a “9.0” for instance, is pretty understandable. My ratings are never the same, never cut n’ dry, and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.0 The KZ ZAT is very well built.-Look: 9.5 This set looks BALLER to me!
-Accessories: 4.0 We all know KZ doesn’t add a bunch of accessories
–Overall: 7.2
Sound Rating
-Timbre: 8.8 The timbre and tonality are nice, not perfect but pleasant timbre.-Bass: 9.3 Quality over quantity here
-Midrange: 9.3 The mids are fantastic on this set in my opinion
-Treble: 9.4 Great treble timbre, detail & emphasis for the price
-Technicalities: 9.8 The ZAT thrives in the technical aspect of its sound
–Overall: 9.3
Ratings Summary:
Looking at the ratings they basically speak for themselves here. Honestly there aren’t as many hybrid iems as you may think, and I can only judge against those which I own or have spent enough time with to have a qualified personal opinion about. So, I made my ratings in the $50 to $90 range because I’m thinking about the person who is looking to make a purchase. After all, these are the people I write for. Basically, I am thinking about the person who wants to try out a hybrid set and $90 is the absolute highest they can go. This is what made sense to me at the time, who knows maybe I could’ve done it in a smarter way. Anyways, I don’t think these ratings need much explanation. The ZAT is a very good set. Of course, it has its issues but those are “subjective” issues and not necessarily problems with the tuning itself. Ya the accessories are sub-par but if the money goes to making a better earphone… so be it.
Conclusion
To conclude my full written review of the KZ ZAT I want to again thank Tyvan Lam and KZ for once again providing me the ZAT in exchange for a feature and review. Guys and gals, KZ is really doing some great things. I also love that they aren’t simply going with safe type tunings but instead are spicing things up. They are adding different types of sound signatures and guess what, they are doing very well with the target they are going for. Not every iem maker can say this. Many go the safe “Harman” tuning, and they sell some units and move onto the next variation of a Harman tuning. KZ is doing some of those, but they are also switching up their game. The ZAT is a perfect example of this. I had a good time reviewing this set and I’m happy to give it a “Rec” from me. If that means anything to you. Other opinions
With those thoughts in mind, I want to implore you all to check out other reviews of the KZ ZAT. Get other opinions. I promise you will hear differing thoughts about this set. I also promise that not everyone will give them glowing marks. Simply put, we are all different. We don’t all have the same gear, we don’t have the same hearing abilities, likes and dislikes, music libraries and we all haven’t been down the same audio journey. Also, I don’t profess to be the “Be All-End All” of reviewers. It is a wise move folks. I thank you for reading, take care and stay as safe as possible… God Bless friends!
Yanyin Canon II Review
Yanyin Canon II Review
“The Worthy Successor”
Intro
It’s my pleasure to introduce you all to one of Yanyin Audio‘s latest hybrid iems, the Yanyin Canon II. The Canon II is actually the successor to the very popular Yanyin Canon “OG”. This of course is my full written review of the Canon II which came to me straight from the good people of Yanyin, coordinated by Joseph Yueng. I have been a fan for quite some time of the original Yanyin Canon. I’ve spent a multitude of hours with them in my ears and have enjoyed every minute of it. During my time with the OG Canon, I never actually reviewed them due to scheduling constraints, but I’ve casually loved the sound and so I was very pleased to learn I was going to be able to audition this newer model.Yanyin
Established in 2020 Yanyin Technology is a relatively new audio brand but by the atmosphere surrounding their releases it would seem that they’ve been around for a decade. Developed from a foundry studio since as far back as 2012 the Yanyin company hit the ground running since their conception. Specializing in research & development from “experienced earphone production masters” with years of production experience. This is one audio brand who seem to hit the nail on the head with everything they do as this can be evidenced by some of the more popular recent releases over the course of the last year or two. We have the of Yanyin Aladdin, Yanyin Canon, Yanyin Rosemary, Yanyin Moonlight, Yanyin X-HBB Mahina, Yanyin Moonlight Ultra as well as the set I’m reviewing today, the Yanyin Canon II. Each set has been very well received in the Audio community and each set leaves its own distinct mark on the hobby. I’d say Yanyin is doing pretty well friends.Like I said, the OG Canon is still one of my favorite sets in the price point and I will try to answer whether the newer set is an actual upgrade, side grade, or dare I say a… downgrade. I’d also like to get a handle on whether the Canon II can stand amongst some of the best in the price point. I will try to explain this set the best I can and even throw in a comparison or three. With all that said, let’s dive in, this’ll be a fun one…the Yanyin Canon II!
Gear used for testing
–Ifi Go Blu–Moondrop Dawn 4.4
–Hidizs S9 Pro
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging / Accessories
Unboxing
The Canon II arrived at my door in a fairly large rectangular box with pretty cool polygonal lines on the front and… Okay I won’t bore you anymore with that. The box is nice. Inside the box you will first see a sheet of paper with instructions (in Chinese) of the usage of the dipswitches. Under that is a box sitting in a foam cutout. Inside that box you’ll find the faux-leather case. Inside the case is the cable with the beautiful Canon II earphones pre-attached. Next to the black box you’ll find a small plastic case which holds the eartips. You also receive a dip-switch tool for operating your switches. So, it’s not the most impressive unboxing I’ve ever seen but also, it’s just an unboxing. Who cares right? Yanyin provides the essentials, and those essentials are more than decent.
Eartips
Do you remember when I said that the accessories that mattered were “more than decent”? Well, I may have forgotten one part of that. Possibly the eartips are a bit meager for such an expensive set of earphones. Folks this is a $379 pair of iems and for that it should probably be expected to get a vast number of eartips to suit one’s needs.
The included eartips are some semi-wide bore gray eartips which honestly are very nice. Yanyin provides four pairs in total (S, M, M, L). I actually used the large sized set for a bit. However, as I began tip-rolling I found at least four sets of tips worked very well for me. The JVC Spiral Dots EPFX10 eartips, the KBear 07, the Final Audio E-Tips and the Divinis Velvet tips. In my opinion, all four of those will work nicely with the Canon II. With all that said, the included tips are very much similar to KBear 07 tips which are some of the best in the game on a budget and they do fit the Canon II’s tuning very well. I have no issue with the tips included as they are very nice, but I always like to give some other options as well. I kept going back and forth between the four sets that I mentioned above, but the majority of my listening was done using either the Final E-tips or the Divinis Velvet tips.
Carrying Case
The included case is a tan colored case with a magnetic clasp that opens and closes with a nice smack of magnetism. Man, I wish I used cases more because I hate to see such a beautifully made case go to waste. Yanyin provides a very nicely crafted case that is perfectly suitable for an expensive set of earphones like the Canon II. The faux leather feels very much like actual leather and the microfiber soft inside is really well stitched in there to keep your earphones scratch free and safe. I find that there is just enough room for the earphones and cable along with maybe some extra tips inside. The case is a very nice accessory that should get plenty of use from many hobbyists.
Cable
The cable is the exact same cable given with the original Canon which… I can’t complain about it because I think that cable is awesome. Though Yanyin does specify that it is an upgraded cable, I can’t tell the difference. Anyways, I love the thickness, the look with that glossy metallic white is perfect against the colorful Canon II’s and the braiding is dope. It’s just an awesome looking cable that I’d love to buy a few more of. Yanyin provided me with the 3.5 single ended version but luckily, I had the 2.5 balanced version with my original, so I am using that one primarily.
The cable itself is a gloss metallic white with a sheen to the insulation covering that I think makes the Canon II POP! It is made out of high-purity single crystal copper and a high-quality silver plating. You can order the Canon II with either a 3.5, 2.5, or 4.4 connections. I see no reason to swap cables, this one is perfect friends though at times I do like to throw on the Dunu Hulk Pro cable because it looks absolutely bonkers cool with this set. However, for the most part the included cable is perfect… Nice job Yanyin!
Build / Design / Internals / Fit /
Build Quality
Once again Yanyin nails the build with a nicely durable and stout feeling all resin shell. Yanyin promotional advertising states that the shells are fully crafted out of 100% medical grade resin. Of course, you can get all resin shells at much cheaper prices anymore, so this is not unheard of. However, there is something which sets the Canon II apart in the overall feel when they are in hand. I can’t quite explain how something can “feel” durable but nevertheless, this is the case. There is a premium quality to the OG Canon as well as the newer Canon II that is unmistakably robust. The Canon II evokes a level of pedigree that isn’t easy to put into words. I’m sure it doesn’t hurt that the Canon II looks absolutely beautiful. You’ll see two dip-switches on the back side of the Shells as well, but I’ll get into that later. Nevertheless, I cannot say anything bad about the build at all. They are also lightweight, ergonomically and strategically crafted to seat well inside of most human ears. One thing to note is that Yanyin did add in a front vent to help with driver flex which some had complained about in the first Canon. Just very well done.
Internals
Just like the previous Canon, the latest revision and iteration is also a five driver Hybrid setup as well. That is, one “upgraded” Dynamic Driver and four Balanced Armature Drivers. To be more specific, the Dynamic Driver is a 10mm Driver with Bio-Cellulose Diaphragm in a dual-chamber setup (the DD has its own chamber) with four “individual” Balanced Armature Drivers. There aren’t any twin BAs in this iteration of the Canon which is nice to see. Two BA’s handle the mid to high areas of the mix while the other two are dedicated to the high-highs. There isn’t really any info on the BA’s that I can find other than “high performance Balanced Armatures”. However, they are fantastically tuned, but I’ll get into that later. There is also a three-way crossover circuit board as well as three-way acoustic tubing which really dialed in the frequency range with obvious bandwidth improvement and range from the first Canon.It is pretty obvious upon first listen that Yanyin truly did seek out to make an upgrade and not just a “money-grab-side-grade” when implementing and tuning the Canon II. This is less common than I’d like to admit, almost to the point of me calling it a rarity. For as good as the OG is (and it is damn good) the latest Canon seems outfitted with a more cohesive and expressive driver configuration which has been dialed in to more pinpoint areas of the frequency. Not to take anything away from the OG Canon because I still adore that set but this is a different flavor, and the Internals have a lot to do with that.
Dip switches
Yanyin made a change in the dip-switches from the previous Canon in a couple ways. First, they deleted one of the switches from “three”, down to “two” switches, which I completely agree with. Honestly, unless there is a large enough change in sound then there’s no need to add a million switches. They just become more cumbersome and not really worth the novelty of having them. Two is great. Also, these newer switches solely operate & affect the low-end, in the “up” position by adding dBs to the low-end. I was given some pamphlet piece of cardboard which visually shows each switch orientation setting. But… the explanation of what the picture shows was written entirely in Chinese… which I can’t read. Oh well, it was easy enough to figure out. Anyways, Yanyin states that you can get four tunings in total depending on the switch orientation. However, I’d argue that “UD” and “DU” are the exact same sound and not much of a difference at all. In all reality there is three different tunings and there is most certainly a difference between them. It doesn’t sound like three different earphones in one, but it does sound like three variations of one tuning.What do the switches do?
I’m not going into a huge spiel about each switch orientation, but I’ll simply say that all switches down you’ll hear less bass and a more mid-friendly sound, a little bit of a neutral hue. One switch up adds a little bit of low-end thump (my preference) which sounds more like mid-bass inflation. Also, this is the orientation that I conducted my review of the Canon II. Now, pluck both switches up and you’ll get a bit more low-end beef. The bass gets a bit more energetic, fuller and… well… Bassier. I for one can listen with both up and I can be perfectly content. The bass still somehow doesn’t overshadow the mix to any great degree. However, for my style of casual and critical auditory joy I am all about the first switch up and second down. Just enough warmth and plumpness to go with instrumentation, voices, bass guitar fullness and those sweet bass drops. There is a reason they called this set “Canon”. Of course, I think it has nothing to do with the bass, just a happy coincidence I suppose. The Canon can truly be a… Canon.
Fit
The fit is lovely. Truly. Of course, I’m talking about the fit in my ears. I actually have zero clue how this set will fit your ears. To me they fit like a perfect glove, and I don’t get any driver flex, they aren’t heavy, they don’t have sealing issues and the Canon has very good noise isolation. One thing which does help is the slightly longer nozzle. Just past medium length (if that means anything to you). Clearly this will change from person to person, but I honestly find this set to have a nicely ergonomic shape that I have to imagine will fit most folks in the hobby.
Drivability
The Canon II is actually a pretty easy set to drive. Rated at 27-40 ohms (depending on dip-switch orientation) and a sensitivity of 112 db’s the Canon II can be driven off of almost anything with a 3.5, 2.5, or 4.4 female port. Now, this doesn’t mean that these lil baddies won’t scale with more power or to the audible sonic ability of your source. Quite the contrary. I actually found Yanyin’s latest Canon to thrive with more juice and really plays to the fidelity of the gear I’m using.Mobile Listening
Listening with the IFi Go Blu (CS43131 dac chip) from the 4.4 balanced side, the Go Blu has a ton of power and the Canon II sounds positively dreamy with this setup. I wouldn’t have thought that too. The Go Blu is slightly on the warmer side and so is the Canon II, so I thought they would possibly be a double-negative of warmth. Well, it turns out the Go Blu is a great mobile source for the Canon II. Just as well when I took the Moondrop Dawn 4.4 (same CS43131 dac chip) which is actually much cleaner sounding, more punchy, more neutral, and also a ton of power for a mobile setup. These two are wonderful paired together. The Canon II was able to melt right into both source tonalities and come across beautifully with each. The same cannot be said about the OG which I do prefer with a more neutral setup. The Hidizs S9 Pro… same deal. The Canon II swoops in and blends in like they were meant to be.
Daps
I don’t have a desktop setup anymore, mainly because I don’t enjoy listening that way. So, I look towards DAPs to get me a more powerful look at how my music will sound through earphones which are tested a bit more. I’ll spare you the wait, both sounds fantastic. Using the iBasso DX240 (ES9038PRO dac chip) with its more neutral but crazy resolving sound and punchy delivery, like a Dawn 4.4 on steroids sounds amazing. However, my absolute favorite way to enjoy my jams through the Canon II is with my favorite Dap under $1,000…the Shanling M6 Ultra (AK4493SEQ dac chip) The M6 Ultra takes the sound of the Canon II and simply elevates it. Using medium gain the Canon II comes across rich and clean with a resolute coloration that may be one of the funnest technically savvy playbacks I’ve heard in a long time.In the end
When all is said and done, you’ll be good with most anything you have. The Canon somehow has this innate ability to hone into any source sound and make it better. That is of course if you enjoy the sound signature. I for one really enjoy it so I’ve been very happy with all of my pairings. I truly didn’t expect this, but the Canon II is somewhat of a chameleon friends.
Sound Impressions
Now we get to the heart of the review. Probably what you all came here for. The Canon II generally has a warmish/neutral tonal coloration with a warmer lower half and clinging closer to neutrality as you rise through the frequency. Of course, this isn’t always the case but “generally” this is what I hear. If I were to try to categorize the sound signature, I would probably say it’s a slightly warm U-shape or a very slight V-shape. I would call the overall note body as lean-lush as it’s dense enough but also with a tightly condensed note structure. The Canon II also has fantastic coherency of Drivers as well folks. The sound comes across as very vivid and rich across the board with an expressive display of macro-dynamics for the price point. You won’t hear any undue sibilance or any annoying glare from odd peaks on the Canon II. What you will get is a highly resolving and intricate sound that’s pregnant in fullness, dynamism and lathered in warm emotionally charged auditory precision.Quick look between the 20’s
I provide this section for a quick look into the sound. A little snippet if you will. The Canon II obviously has an emphasized low-end which can be even more emphasized with both switches up. That said, the lows are very clean, beefy, with a heavy punch, capped with a tight enough attack & decay per the quantity. The midrange is also clean and has no veil whatsoever. The mids replay vocals of both males and females with great note weight and keeps great musicality while holding onto the finer details in music. The treble region is lifted just enough to allow some levity to the mix and just enough to “up” the resolution of the mix as well. The stage is large, imaging is spot-on, and details are easy to come by. Which is not always the case with a colored sound. Coherency is great across the frequency as well and to be honest I’m having a hard time coming up with Cons here people. Other than for those who simply don’t like this type of sound.
Bass Region
Starting off with the bass, I hesitate to call it the star of the show, but kinda feel like I have to. Even if there isn’t any truth to it. I could very easily say the midrange is as well. It truly is a very nicely tuned bass region for a dynamic and fun sound-sig. I almost liken it to the Hiby Zeta (Zeta Review HERE) as the bass region is plump and deep yet also is well defined, not one noted, and it can be a bruiser. You have that thick and weighted center of gravity down low with the emphasis sounding like it peaks in the mid-bass… without taking anything away from the sub-bass. Truly and honestly, if you like an emphasized and boomy type low-end but also crave that clean, wet, and definitive bass display then look no further. One of the best, if not “thee best” low-end replays within the price point for me folks. I’d say “hands-down” but I want to retain some decorum. Eh, who am I kidding, I lost that a long time ago. The low end jams! This is a bass that is not overbearing and achieves this with its note definition and succinct note delivery.Sub-bass
The sub-bass palpably reverberates that densely deep extension that so much of my library caters to. You can flat-out feel the gurgling grunge and the bulbous dirty resonance from the track “Heavy is the Ocean” from Bush. The song begins rumbling right away and slowly builds momentum until the Hook. Please trust… the Canon II is at home here. Also understand that this isn’t a sub-bass that overshadows anything else either. At least “per what it is”. This is a sub-bass that takes what it’s given and roars it back at you with a mostly concise compactness. There is tactility that’s served with a haptic vibration which stays tight to the fundamental note with good harmonics. Certainly, meant for fun and certainly made to dig pretty deep. That said, the Canon II has a speedy enough sub-bass that it still maintains its macro details with a nicely carved out delineation from the mid-bass. The sub-bass is speedy as well and can take on quicker tracks with relative ease. Also, the sub-bass isn’t over saturated either.Good clean fun!
Or listen to “Paradigm” by The Head and Heart. Listen as the deep and guttural sub-bass tightly rattles as the Canon II still maintains control while clearly displaying the lead vocalist. There isn’t any smearing or any mud, and there definitely isn’t any over-saturation in this area of the mix. The song plays as it’s supposed to, and the recording is good which helps a lot. Also “Home Sweet Highway” by Ashley Mcbryde is another track out of hundreds in my “low-end” Playlist. I had a star next to my notes for the bass on this track as it has a great feel to it. What I noted was the rubbery ductility of the bass as it comes and goes in concert with the cleanliness of the bassline contrasted next to the other instrumentation. It’s just good ole’ clean fun folks.Mid-bass
The mid-bass has an uncanny ability to boom and then get out of the way. It can detonate and leave the room clean as a whistle. Friends, the Canon II is playing a different game. I don’t want to oversell as there will most definitely be those who want less of an emphasis. Or more. Shoot, some may not enjoy this bass at all. These are MY THOUGHTS. Also, I wouldn’t outright call this “basshead”. I wouldn’t do that. This is more like “Bass-hifi”. “Humble Beginnings” by Bazzi has that hard edged and crystalline note outline when the bass drops. There isn’t a hint of fuzz or pillowy behavior here. This is… “mass x concrete x beef ÷ detail = YC2. It’s clean, seemingly speckless, untainted by the usual haze of a bigger bass section while employing a rigid and swift attack / decay / sustain in relation to the emphasis. Not overly quick either as the Canon II still maintains that nicely atmospheric DD type timbre.Bass guitar is edgy and a plump replaying a gravelly sound on most any track I play on them. Songs like “John Wayne” by Whiskey Myers. You have those dirty and quick successive bass guitar riffs that set the pace and tone for the song. On the Canon II they come across as robust surges of bass energy without losing its timbral integrity. It’s just a very fun sound folks, and that fun holds onto its technical verity and exactness very well for a robust bass. I don’t want to put forth that this is just a bass dominant sound either because it isn’t. It’s simply good bass.
Mid-bass cont…
Take “Billie Jean” (MJ remake) by Weezer. This track is perfect for really dialing in the sound of a single booming kick drum. You can hear the fabric or the density of the note edge, the robustness or the hollowness of a single boom and that is followed directly by a powerful snare. This progresses just as you remember on the MJ original version yet with more power and dynamism. On the Canon II the sound has this effortless hollow boom that carries swift but absolute authority. It has a tacky leading edge to crest each note which when added together (hollow boom/tacky note edge) is very satisfying. The kick drum is very well isolated and localized. This of course is tailed by the snappy deep “pang” of the snare. Of course, I get this sound on many sets as many sets can do it well, but I have to hand it to Yanyin because the Canon II makes me want to listen to it over and over again.Downsides to the bass region
With everything in audio there are always issues or downsides to everything. When trying to come up with those faults in my critical listening I came up with some subjective gripes which some people may or may not have. First off, the bass is bigger. Not basshead sized (at least with the 1st switch up) but big. I know so many people who like that ultra tight (BA, Planar, tight DD), fast decay, zero sustain, tight release and intricately kempt bass… I get it. Also, not everyone is a fan of genres which cater to a bigger bass section which ultimately means that a big low-end is just a nuisance. Also, if I were to pinpoint any issue, I could say that the bass is more colored than it is timbre accurate. Granted, it sounds fantastic, but it isn’t without obvious coloration. With that said, this is a very clean low-end guys and gals. Very well done and I’m very impressed.
Midrange
The other “Star of the show”… Maybe. The midrange is mostly a lush representation of my musical library, which actually probably sounds closer to natural than not. I call this lean-lush (density without being too bulbous) and liken it to lean muscle mass. Human voices have some heft to them with this set, some soundwave mass and texture. Instruments are the same. I think you need a tad bit of warmth to sound natural which means a little bit of color sounds about right to me. I have zero idea where people got that a neutral sound is a natural sound. For the most part, I’m not in that camp. Neutral definitely can sound very natural. You need some richness in any sound and the Canon II has an uncanny ability to come across 3Dish. There is presence all around midrange Instruments.Also, I honestly don’t hear a severe recession folks. Really. The distance of the midrange is about right to me. The midrange is forward just enough to sound highlighted and focused. It doesn’t sound distant to me. Vocals in front, Instruments slightly further back, spread out, cymbals out wide (generally). The midrange has air to it while remaining lean-lush with a nicely wide stage for the midrange to work in. Best of all, the Canon II is musical to its core and a perfect set to enjoy many different genres and the midrange perfectly exemplifies this.
Lower-midrange
The lower mids are generally where I attribute male vocals to, even though this obviously isn’t always the case. Still, males have great note body with just enough warmth, but also just enough crispness to have good note definition. You’ll find most instruments sound fantastic too. The realistic note body goes a long way and the high level of resolution in the sound is the icing on the cake… Game over. However, as far as male vocals are concerned, tracks like “Sand in My Boots” by Morgan Wallen is a perfect example of this 3D-like note presence. The actual structure of Morgan’s southern drawl has some note body friends! There’s nice layering in this track and the instruments surrounding him too. Or the acoustic track “Everything” by Ben Howard. His voice is presented very forward, intimate and very clean too. Males really sound great with the Canon II.Upper-Midrange
Female vocals on the Canon II have won my heart. There is this well-defined shimmer for female vocalists and can come across nicely to my ears. Again, note weight is there, it’s broad enough, soft when it needs to be soft, rich when it needs to be rich, but also there is a levity to a woman’s voice. Also, you have this airy separation in this region as I don’t hear anything even close to cramped or congested. There is space to operate for voices and instruments. There’s also this organic flavor to the sound which isn’t just a product of the timbre, but also from the actual structure & clarity within a note. “Who Are You Dreaming Of” by Rhiannon Giddens honestly sounds like the Canon II is putting on a clinic. Her voice is so very well-articulated and has an awesome presence in the mix. Honestly, I could go on and on like this over females on the Canon II.“How Long Will I Love You” by Ellie Goulding is pretty special listening with the Canon II as well. She has this knack at making the softer and svelte in her voice also powerful somehow and not every set capture this very well. Don’t get me wrong she sounds great on most any set but an earphone like the Canon II adds that last little bit of emotional glaze and catches every little modulation and inflexion in her vocals.
Instrumentation
As far as instrumentation goes, I don’t find issue with almost any instruments that show up in my library listening with the Canon II. They have the body they need, the detail retrieval they need, the resolution they need, the separation and imaging are also afforded to instruments. Strings sound fantastic. “3 A.M.” by Gregory Alan Isakov begins with an acoustic guitar with melodic harmonics and great imaging next to Gregory’s voice. The pluck of the strings has that pointed “ping” with just enough sharpness to sound legit. Violin is lacking nothing to me. Depending on the recording of course. Percussion is all great. From kick drums, to snares, to timpani, to cymbals etc., they all have plenty of punch, pang, pap, and enough lift up top to make them exciting. Flute, trumpet, piano all seems to be very well laid out as well. Now I’m sure you can find some off the wall tracks that don’t sound perfect as a lot has to do with the actual recording (and the source) too, but generally the Canon II sounds great for instruments in the midrange.Downsides to the midrange
If I were to list some possible issues with the midrange, I would think that some folks may want a hair more of that detailed and airy dryness… for those who dig a more analytical sound. Some may want an actual “mid-centric” sound where vocals are the masterpiece, way out front and on a pedestal. The Canon II is pretty well balanced for a fun sound signature and the mids sound fantastic, but there are those sets that strategically emphasize the vocal ranges that obviously would outshine the Canon II. Obviously, there are also downsides to those types of sets as well. Some may want even more of a smooth and lush sound with even meatier note body too. I could see some who would think the Canon II would be better with more warmth, without question I can see this. Remember, these are my thoughts. Honestly, I don’t know how a person wouldn’t like this midrange but, it takes all kinds. That is what makes us amazing and also what makes this hobby amazing.
Treble Region
The treble has just the right amount of lift to come across just north of shy. Meaning, there is a nice amount of bite and levity to lift the whole of the spectrum as well as add some pep to the sound too. You need a little sheen with your lush. The treble region has an “almost safe” approach. Enough that I would call the treble non-offensive, it’s not at all risky or trying to push the limits. Now, does this make the treble bad? Absolutely not! The treble has a great transition from the mids with very nice coherency and enough of an etched out and clean note delivery to call the detail retrieval very good. The resolution up top is really fantastic as that is one area that Yanyin definitely improved with the Canon II. Also, you’ll notice good extension past 10k as the secondary harmonics of cymbal strikes don’t sound faded or tinsley or splashy at all. Listen to “Right Here, For Now” by Bakar and you’ll hear what I’m talking about in the very first seconds.Listening to the song “Keel Over and Die” by Old Crow Medicine Show shows off the BAs within the Canon II’s ability to render a very fast paced treble melody. In fact, the Canon II doesn’t skip a beat. Nothing gets mashed up or blended. “Gerri Marie” by Durand Jones also shows off the abilities of the Canon II with its symphonic beginning and the very organic and full sound. Honestly, I have yet to hear a track and feel dissatisfied or disappointed in this set.
Nice Treble
I should also make mention that if you bring both switches “down” the treble region gets an obvious bump and there is a little more brightness to the sound. Not so much that I’d call it forced resolution either. The Canon II is one set which employs drivers of the type and quality which can replay beautifully defined highs and doesn’t need special tuning tricks to pull it off. The treble has a nice bite and even some punch when needed. It all depends on what track you are listening to, but that should go without saying. The point is, Yanyin knows how to tune a very fun sound, a big sound, even bassy and still come across lifted, articulate and highly detailed. Truly a fantastic job Yanyin!
Technicalities
Soundstage
The Canon II stage size is one which fills the entirety of my mindscape. Very wide in width for the price point and full height with good depth. You have this big sound which stays true to the furthest reaches of the stage. Meaning, what you hear out wide comes through just as definite as what you hear towards the center. Again, depending on the track. This will always matter when referring to the soundstage. However, a track like “Hook” by Blues Traveler is one I use all the time to define a stage size because it is recorded so well. It’s wide and big and will tell you exactly how well your earphones etc. sound as far as the stage is concerned. The Canon II sounds very impressive for $379 in this respect.Separation / Imaging
Separation of elements within an imaginary psycho-acoustically rendered stage come across very well delineated and clean. The Canon II has great resolution across the mix as well as that big stage I was talking about. You simply have space to operate and the cleanliness to make a defined note. You have the forward and backward depth to provide a glimpse of 3D sound which also greatly helps. Imaging follows suit perfectly. Really there hasn’t even been one track that I felt sounded bad in this regard. I think that hobbyists who enjoy picking apart musical arrangements will enjoy the Canon II.Detail Retrieval
Let me first state that the Canon II was not tuned to be a detail marvel. This was simply not what this type of tuning usually provides. My interpretation of what Yanyin was going for was a definite improvement over its predecessor. That in turn means big macro-dynamics, lushness with that warm/neutral sound yet very resolving with an emphasized bass region. All of these attributes don’t usually translate to “good at details”. However, color me surprised because the Canon II does an admirable job of illuminating the minutiae within my music. There is very nice control over the whole of the frequency. I can list multiple tracks where I can hear the details just as well as many sets more known for such a thing. I almost feel that the Canon II is somewhat of an outlier in this way.Expectations in check
However, please understand that just because this set can bring out the finer subtleties in music you still have to consider bassier tracks. In bass heavy songs the Canon II will obviously not illuminate some of the minutia in other frequencies as good just because of the emphasis. This usually is not something that is an issue and also, who honestly cares about details in bassy jams. Also, you have to keep expectations in check as there is certainly iems within the price point which have better detail retrieval. Of course, those sets also offer a more dry and less musical approach. Translation, they’re more boring. The Canon II is a beast, but it’s a controlled beast.
Comparisons
Note: Understand, to keep this review under a certain number of words I have to speak in very general terms when comparing. I cannot dive deep into differences between any of these sets. Also, these comparisons are not a duel to the death. My main focus is to try to simply show differences but I’m not always successful at this. Still, sometimes it does turn out to be “ones better than the other”. I try to compare logical sets that I actually have at my disposal so they may not always make perfect sense. Xenns Mangird Tea ($299)
Oh Mangird Tea, how I’ve loved you. I have spent so much time with you that… OK this’ll get weird if I go any further. Folks the Mangird Tea OG is one of those sets that just hit all the sweet spots for me. It is another hybrid iem with 1DD and seven BA’s. It is a gorgeous iem that is just about at legend status in the hobby. I never got a chance to actually review them, but I have spent more time with the Tea than any other set I have. That said, there are certainly differences that are obvious between these two. In fact, they offer very distinctly different sounds. Really, they complement each other very well.
Differences
To begin, the Yanyin Canon II is the better looking iem, let’s just get that out of the way. Both are gorge, but I’d take the YC2 if I were picking a set soley for looks. Both are built about the same, all resin shell, yet the Canon II has the dip-switches. The Tea is a hint easier to drive and has the more neutral sound to the Canon II’s warmish/neutral tonal color. This is really a question of preference between the two and I’m simply comparing them for a reference. Both sets are very good in the price segment for their own reasons.
Bass Region
I’ll make this quick because these are very much different. Straight up the Canon II most certainly has the bigger bass across the board. The Tea isn’t without rumble as the sub-bass can dig moderately deep, but the mid-bass takes a quick slope and wide glide down, whereas the Canon II has a more pregnant bump in the mid-bass. The Canon II has much harder note density which I can actually feel, while the Tea has the more focused and detailed low-end. Canon II booms heavier, it’s more fun and aids in helping many instruments and voices to come across a bit thicker. The Canon II has much more slam and boom.Midrange
This is an area where the Tea kind of steals the show as the Tea is made for vocals in my opinion. Truly one of the best vocal sets you can get. However, the Canon II is simply wonderful in this area as well. Still, I’d take the Tea’s vocal delivery over the Canon II. They are silkier, more forward with just the right amount of velvety shimmer. Instruments like bass guitar, snares, even strings probably come across a bit better on the Canon II just because of the thicker body to the sound. Despite that the Tea simply has this special quality in the midrange to sound wonderfully euphoric and pleasant in my opinion. That said, the Canon II has a fantastic midrange with very pleasing vocals which when paired with the rest of the frequency it begins to show the Canon’s pedigree next to the Tea.Treble Region
Between the two the Canon II has the more sprightly, energetic and lively treble. The Tea comes across smoother and milkier up top while still holding some shimmer. However, the Canon II is simply better in many regards here. It has the greater amount of controlled luster, shine, smoothness and bite, while the Tea is less animated and lively. Detail retrieval in the treble region goes to the Canon II.Technicalities
Both sets offer a nice stage, but the Tea is a bit more intimate. This does not inherently make the Canon II better either. Just different. The Canon II has a wider stereo image with the midrange a hint further back in the mix. There is also a hint better depth in the Canon II’s replay but I’m splitting hairs. Both sets have a perfectly reasonable stage size that works very well for each set’s respective tuning styles. Separation is great in both as well as imaging, but I’d have to give the nod to the Canon II in these regards. The same goes for detail retrieval.In the end
Again, this was not supposed to come across as a “better or worse” battle. I wasn’t pitting one against the other here. I compared the two simply to give a glimpse of what the Canon II sounds like for those who have heard the Tea. Did I succeed? Maybe…maybe not? I will say this, I absolutely adore both sets. As far as the Tea is concerned, this is one set that if you can find one being sold second-hand somewhere you should really think about picking one up. Truly it is a special iem for special circumstances and a nice respite from the popular tuning styles. Still, I’m all about the Canon II at the moment and it simply does more for the money and is much more fun sounding. Yet at the same time it’s the more sophisticated and finely developed of the two…respectively.Yanyin Canon (OG) ($349)
Prior to the announcement of the latest Canon II, I would’ve said that hands-down the OG Yanyin Canon is most certainly one of the top three iems under $400. To be honest, it probably still is… For me. Anyways, the original Canon is also a five driver Hybrid consisting of one Dynamic Driver and four Balanced Armature Drivers. Yanyin has made a few upgrades in the driver tech as well as the tuning. We have brand new upgraded “individual” BA’s, an upgraded DD, along with the addition of a better acoustics internally due to the chamber, tubing, as well as the crossover allocations.
Differences
To begin, the latest Canon has one less switch, which I celebrate. Also, the OG Canon’s switches affected all three areas of the mix whereas the latest Canon only affects the bass region. I think the Canon II is leaps and bounds a better-looking earphone from that maroon/gray colorway of the OG. Both sets accessories are about the same. To be honest the latest Canon is more of a tuning change with a slightly more polished sound as well as a more mature of a sound altogether.
Bass Region
The Canon series is quickly becoming a reference to great bass replay. Both sets offer a tactile and haptic sub-bass that rumbles nicely though the newer set seems to keep a tighter noose on those vibrational resonances. The OG Canon has more of an emphasis in the mid-bass and comes across as more boomy. The new Canon has better control with less slam to a slight degree there. This coincidentally also means the OG has a bit more bass bleed into the lower mids. The Canon II on the other hand has an improved slope from the mid-bass to the low-mids that could almost be considered a tight tuck. This makes for a much cleaner sound. It also helps to make the Canon II punchier, snappier for percussion, with a denser and more palpably textured body and better-defined note outline. Just more energetic and livelier in comparison. However, I freaking love both bass replays. Truly. They both give a different flavor down low. Both offer a fun yet disciplined sound for the quantity they have. Despite that, I find the Canon II to have a more polished low-end with a more tactility and texture while the OG has the more theatrical and slightly more Bulbous sound.Midrange
The midrange of both sets has a slight variation from each other. The OG Canon has a slightly more forward midrange with a hint more warmth than the newer Canon II. The Canon II comes across with better clarity in the lower midrange with less body in note weight than the OG Canon. The OG can get a hair shouty in the upper midrange while the Canon II has a less pronounced ear gain which helps females to come across a bit more natural to my ears. I do like the newer Canon just sounds more polished and detailed yet doesn’t lose out on musicality. The OG just takes a different path with a smoother midrange by a hair and a little heftier note weight. The New Canon has more crispness when called upon yet can also sound velvet and emotional. Kind of the best of both worlds.Treble Region
I find a good difference between the two lies in the treble region. The OG Canon has a brighter hue with a more sparkly treble, but also a more strident and sharp treble. The newer Canon II is simply more refined up top. Truly this is an upgrade folks. That is of course if the sound agrees with you. I hear a slightly better timbre on the new Canon while the OG Canon can sound a hint artificial somewhere around the lower treble. The newer Canon has just the right amount of smoothness and bite whereas the OG can become shouty listening to certain songs. Perhaps better haptic feedback in the treble too on the newer set. Both sets offer nice detail retrieval up top, but the newer set seems to do so with less forced resolution.Technicalities
As far as stage size, both sets offer a nice stage. It is difficult to get a discerning feel for them. That said, the OG Canon has a more intimate sound with closer mids while the newer set is a hint more spread out and realistic. Separation is undoubtedly better in the newer set as the sound is simply clearer and has better resolution to my ears. Imaging is spot-on on both iems as they portray Instruments and voices very well in an imaginary stage. I’d also have to surely say that detail retrieval is evidently better on the Canon II.In the end
Honestly, if you own the OG Canon I really don’t know if it’s worth it to pick up the latest set. They are probably different enough, but I don’t know if I feel it’s worth it. I will say that the newer set is most certainly an upgrade to my ears. I have spent way too many hours with both sets and can confidently say that the Canon II is simply cleaner across the board. Not to take anything away from the OG because I love it for its fun and vivacious sound. Ya know, I could probably say that the older set is probably the more fun set, just not the more refined set.Fiio FH9 ($599)
Another set that I’ve grown to love. The Fiio FH9 (Review HERE), which is a seven-driver hybrid consisting of one 13.6 Beryllium Coated DLC Dynamic Driver and six custom Knowles BA’s. Truly a flagship level iem in every regard and at every angle you spin them. The FH9 is one of the sickest looking iems in the Audioverse…my opinion of course and a very competitive iem at its price point. The FH9 comes equipped with nozzle filters that slightly alter the sound. I chose the FH9 as a comparison because I wanted to see how well the Canon II could hang next to a bona-fide stud of a set in a higher price tier. Obviously, this is not the fairest comparison, but I think we will learn… Something.
Differences
There are a number of differences between the two sets. The FH9 is an all-alloy set whereas the Canon II is all-resin, yet both are built and designed very well. The FH9 is accessorized in the usual ridiculously nice “Fiio way” with a ton of extras and all of them are of great quality. The Canon isn’t bad, but it is usual to expect more from something this much more expensive. Tonally the FH9 is a bit more on the warm side then the Canon II. Also, the FH9 has more of a balance across the mix and so it isn’t probably considered as “fun” as the Canon II but is still “fun” to me. Let’s look a hair closer at the sound difference between the two.
Bass Region
Beginning at the low-end the Canon II has a deeper and more authoritative slam with more emphasis throughout. The FH9 comes across as better defined and quicker for complicated bass arrangements in my music. Still for those who enjoy a deeper and more bold bass region than the Canon II will have you covered. At these prices (>$400 & >$650) you should really expect great bass no matter the form and quantity it comes in and I feel both sets are awesome here. The FH9 is just a bit leaner but just as dense and probably a bit better detailed but that is up for debate. However, they are simply tuned differently. I for one enjoy the Canon II a bit more but I will always love the FH9.Midrange
The FH9 has a smoother sound throughout the midrange while the Canon II is a bit crisper. I find the Canon II to have a bit more energy where some may call the FH9 kind of flat. Still, in that flat presentation (I don’t think it’s flat) the FH9 has a very well detailed response to my music and a bit better resolution than the Canon II. Vocals on both sets sound fantastic. Males come across warmer with heftier note weight on the FH9 while the Canon II has the cleaner and more energetic male vocal. Females on the other hand are much more energetic on the FH9 but I’d actually prefer the Canon II here. There are moments the FH9 can get a hint bright. With that said, I do think the FH9 is more refined, even despite the possibility of glare from the pinna gain area. Honestly, the Canon II has the more musical midrange of the two while the FH9 is a bit more audiophile.Treble Region
Both treble regions are well done and very clean. The FH9 however comes across a hint brighter and crisper with slightly better treble texture and bite. The Canon II comes across smoother and easier on the ear. I find the FH9 to carry better detail retrieval up top yet in the same breath the Canon II does pretty well itself. Both sets have pretty good extension but the FH9 simply sounds a bit more emphasized in the upper air regions. I don’t think either is head and shoulders better than the other. In fact, I’m mostly splitting hairs because both sets really do perform very well.Technicalities
As far as soundstage is concerned, the Fiio FH9 has a semi-open shell which does add a sense of more air to the sound. Perhaps a bit more open. Both soundstage replays are above average but the FH9 does stretch it a bit more. Separation is great in both sets and so is imaging. Detail retrieval goes to the FH9. It’s just more balanced across the mix and very resolving. Of course, we are talking about miniscule differences here.In the end
Listen, I realize the FH9 costs quite a bit more and it outperforms the Canon II in some key areas but honestly, I like the Canon II more. This is another battle of preferences. The “better” isn’t always the most adored. These two are very different in the way they present my music, but both sets truly do well in their price points. Some days I prefer one and some days I prefer the other. One thing is for sure… both sets are absolute ballers! The FH9 as a whole is just a hair less energetic yet macro-dynamics are just as full and vivid. I find the Canon II has a bit more of that fun coloration to the sound.
Is it worth the asking price?
I don’t like answering this question because it entails a very subjective answer. Not everyone is in the same income bracket, and we are all so much different in so many ways. Basically, what is good for one may be polar opposite to the next guy. Also, some may only dream of purchasing a $379 iem while to others it’s pocket change. So, I answer this question simply for me. My situation. I have three kids' folks and $379 is an irresponsible amount of money to spend when you have very good sounding iems for cheaper. That said, I’ve been known to splurge from time to time. Perhaps recklessly even. For me the Canon II represents such a fun tuning that comes across so very clean and mature for the type of sound. For me it’s a yes, in fact it’s a 100% yes that the Canon II is worth the asking price.The Why?
First off, name another iem in the $300 to $450 price range that does exactly what the Canon II can do? I’m waiting. I’ll answer for you, you can’t. This set has such a nice balance of fun, dynamism, macro-dynamics, detail retrieval, and flat-out clean resolve that when mashed together you get an iem that should cost more. I would say a “master of none” but “stud at everything” type of set. Also, it’s built and designed FREAKING BEAUTIFULLY! My word, these designers need a raise! Look at this set folks! For me, the Canon II just fits my type of sound at the moment, and I find it very difficult to find a ton of faults with the tuning that would render the Canon II “not” worthy of its price.Of course, there will always be detractors or folks who simply like something different. That’s life, we are different, thankfully. I could certainly see some folks who would think the bass is too emphasized, or the treble isn’t elevated enough. For instance, I could understand those who love a neutral/bright sound not enjoying the Canon II very much. It certainly isn’t perfect either. I could definitely use more note weight in certain areas of the midrange and could use more treble body and vivaciousness. However, when I have them in my ears, I forget all about my subtle preferences and simply enjoy. I think Yanyin did a fantastic job on this set.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Yanyin Canon II ratings below, that would be $300-$400 iems of any driver configuration. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an earphone what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against, this is important. $300-$400 US is a fairly small scope of iems and so seeing a “9. 0” for instance, is pretty understandable. My ratings are never the same, never cut n’ dry, and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: v 9.0-Look: 9.8
-Accessories: 9.0
–Overall: 9.3
Sound Rating
-Timbre: 9.1 The timbre and tonality are fantastic.-Bass: 9.7 Some of the best bass in the price point, fun meets mature
-Midrange: 9.2 The mids are fantastic on this set in my opinion
-Treble: 9.4 Great treble timbre, detail & emphasis for the price
-Technicalities: 9.0 The Canon II does well here, esp for the tuning
–Overall: 9.3
Ratings Summary:
I’ll say it in every review; ratings are not a helpful way to actually understand an earphone, from a buyer’s perspective or a reviewer’s perspective. I’m sure it’s nice to see numbers to help make a decision a bit easier, but so much is lost in that. Take the Canon II for example. This set is clearly one of the best in this price point (that I’ve heard). Yet it yields a 9.3 overall sound score. Shouldn’t one of the best be scored higher? That’s because the individual parts don’t truly explain what the Canon II is when it is all put together. The Canon II is another set that shouldn’t be judged simply by breaking down each sound attribute. This is a set that needs to be judged as a whole. At which point I’d give it a “9.8 or 9.9″… as a whole. However, there are certainly better iems in each individual attribute area like “Timbre”, “Technicalities”, “Midrange” etc.Pretty Darn Good!
However, looking at something like “Technicalities”. I gave the Canon II a score of “9.0”. Pretty darn good. Still, it’s all about perspective. The Canon II is phenomenal in all Technicalities per the type of tuning it has. Bigger bass, fun, dynamic, nice and expressive macro-dynamics, lean-lush timbre. Yet in the same breath the detail retrieval is great, resolving ability is awesome, transient response is perceivably very good too, separation & imaging are both very well done. Maybe I should’ve narrowed down the scope of the ratings to “fun sound tunings in the $300 to $400 price point”. If that was the case the Canon II would get 9.9’s across the board. Anyways, enough of my mindless blabber, the Canon II represents one of the best sets in the price point in my humble opinion and the ratings do speak to that.
Conclusion
To conclude my full written review of the Yanyin Canon II, I want to again thank Yanyin Representative Joseph Yeung and Yanyin for providing this great set for a feature at the website and across social media. Thank you, you are all very kind and I truly couldn’t review a set like this without you. Also, to anyone who chose to read this review and click that link, I thank you too. I love writing reviews and giving my opinion and I do hope it helps the person reading to make a purchasing decision.One more thing, I always finish up my review by imploring you all to get a second opinion. Don’t rest on my word people! Take what you’ve read here and check out other reviews too. Read, listen to, or watch other perspectives about the Canon II so that you don’t go and spend a ton of money on a set that you will regret. Not everything is for everybody and just because I adore this set certainly doesn’t that mean you will. This review is just a baseline look at this iem from one reviewer’s perspective. We are all very much different. I hope all of you are well and good. Try to stay safe, take care and always… God Bless!
Ceeluh7
@Hero21 i actually used the included cable with this one. I found no issues with the cable that Yanyin added in the packaging and actually quite enjoy the sound, look, and feel of it paired with the Cannon 2. It has this almost metallic white gleam to the cable and is just chunky enough with nice hardware. Thank you for the kind words btw... I appreciate it very much.
NeonHD
At last! I stumble upon one of your reviews again with the Mangird Teas which I appreciate 
I have very strong sentiments for them too, they're probably the 2nd longest IEM I've had as my main set.
I have very strong sentiments for them too, they're probably the 2nd longest IEM I've had as my main set.
Hidizs MS1 Galaxy
Hidizs MS1 Galaxy
Intro
Hello friends, this is my full written review of a brand new Hidizs Budget iem aptly named the “Hidizs MS1 Galaxy“. I was asked to review this set awhile back and have had plenty of time to digest its sound and really get a feel for it and how it may fit against the current crop of iems in the under $20 price point. In fact, the actual retail price of the MS1 will hover around $15 to $17 US which is pretty great to see.Hidizs
The audio company Hidizs was founded in 2009, so they have been ingrained within the audio community going on 14 years which, if you have been paying attention, is not the norm. Obviously, they are doing something right. Beginning in 2012 the R&D Team within Hidizs took three long years of extensive research into the global Hi-Fi market with a team of audio professionals, R&D specialists and personalities to finally launch their first digital audio player (DAP) the Hidizs AP100 in October of 2014. Since that time Hidizs has been on a roll creating dac/amps, daps, etc. As well as many iems that usually are built and designed well past their relative price point. I also feel that Hidizs has really dialed in their tuning of late as well creating different sound signatures for different situations I reviewed the Hidizs MS5 (MS5 Review), Hidizs MS3 (MS3 Review), as well as the Hidizs MP145 (MP145 Review) and I have to say that I’ve been completely impressed and gave high marks and high praise for each.We have actually seen a couple other Hidizs MS1 versions, the Hidizs MS1 Mermaid and the Hidizs MS1 Rainbow. Now, this latest installment of the MS1 moniker is actually the cheapest of the bunch and surprisingly probably the best tuned of the bunch as well. However, that is a very subjective statement. I am happy to have been able to spend plenty of time with the MS1 Galaxy and I’m ready to get into it, the MS1 Galaxy…
Gear used for review
–Ifi Go Blu–Hidizs S9 Pro
–Moondrop Dawn 4.4
–iBasso DX240 with Amp8 MK2
–Shanling M6 Ultra
Packaging
The box and all its contents are pretty basic and a mostly utilitarian packaging and unboxing. Which, we should all expect at this price. Open the box and you’ll see the beautiful MS1 iems sitting in cardboard cut-outs. Under the iems is the cable, the eartips and some reading material. Nothing fancy and no case but truthfully nobody should expect anything luxurious at $15. Put the extra cost in the tuning and build and I’m a happy man. 
Eartips
Nothing too fancy here either. Within the packaging Hidizs provides three sets (S, M, L) of white silicone eartips which have a narrow bore on them. They are pretty firm and can certainly be used with any number of earphones which need a bit of upper-mid glare brought back to earth. However, for the MS1 Galaxy I don’t think that the included tips are what works best for this set. I think you need at least a firm & semi-wide bore with a firm flange as well. Open up those mids with something like the KBear 07 tips like I used or go with something like a wide-bore and shallow fit eartip. The sound signature is thick and heavy with a warmth across the mix and so anything you can do to offset that will be beneficial.
Cable
For ultra-budget earphones, the cable is actually pretty nice looking. Hidizs provides a gray colored and braided 0.78 2-Pin, two strand Silver-plated Oxygen free Copper cable which ends in a right angle 3.5 single ended gold-plated jack. You may also opt for the mic version of the cable. I find the included cable to be perfectly good for any listening and as I said it is a nice-looking cable which functions perfectly. However, I did have to swap out cables for balanced sources and I chose a blue colored 4.4 balanced Tripowin Zonie cable which matches the color of my MS1 very well.
Hidizs always takes cables into account and seems to fully understand that we hobbyists love having the best cable we can get. The included cable won’t change your life or anything but compared to other ultra-budget releases it is a huge step-up. I found the included cable to be very nice for any single ended listening.
Build / Design / Internals / Fit
Build
The Hidizs MS1 Galaxy shells & faceplates were made using German Makrolon Resin by injection molding. Supposedly this type of resin is “high density” and makes your earphones more structurally sound and not as easy to crack or break. In my opinion the build is pretty good and has a nice feel to it. Of course, let’s manage our expectations a bit because this set does cost $15. Still, for $15 I’d say that the MS1 is one of the better built iems that you can purchase. The shape (as you can see) is in a nicely ergonomic and fit friendly style which is actually very light in the ear. The MS1 nozzles are medium length, and they have a regular nozzle mesh. I have nothing bad to say about the build, especially at this price. If this set costed $50, I would likely call it a “con” but for this price it’s a “pro”.
Design
The actual look & design is one of the highlights of the MS1 Galaxy if you ask me. They look almost chic, trendy, even bougie and definitely stylish. If you ask me the MS1 has a striking resemblance to the much loved and adored Hidizs MS2. Friends, I honestly don’t think you can buy a better looking iem at this price unless maybe the KZ Krila is more up your alley as far as looks are concerned. I think it’s the best-looking set under $20 and they come in four different gorgeous colors; Blue (My set), Black, Red, & Transparent.
The first thing you notice is the faceplates as they have a truly unique refraction of metallic light which shoots out at different angles, much the same as the Hidizs MS2. You’ll see different polygonal shades of different colors sparkle and shine as you turn them in your hand. The Shells are also completely transparent which is very cool. I love being able to see the inner workings of my earphones. Hidizs added the logo on the faceplates which doesn’t bother me as it isn’t overtly obvious but instead looks classy. I think Hidizs did a wonderful job making a very nice-looking set of earphones at a great cost to the buyer. They are unique, they are solid and the MS1 Galaxy are striking in appearance. Nice job Hidizs!
Internals
Hidizs chose upon a single Dynamic Driver for the Hidizs MS1 Galaxy. That being a 10.2 mm Single DD with a PU+Peek Composite High-Polymer Diaphragm. I don’t have a ton to say about this except o don’t get any undue distortion at high volume levels that I’ve noticed. Also, I do believe that this driver will reward you with some lengthy burn-in.
Fit
The fit is one area of my review that almost makes no sense for me to include. However, I will always get at least a couple questions pertaining to fit & comfort. Obviously, the fit that I get is 100% subjective and personal to me and I have zero idea how the MS1 will fit you. That said, these things fit me like a glove. I found no issue at all with fitment. Simply find some eartips which suit your ears and listening style and you should be in business. Honestly, I find the MS1 quite comfortable. Isolation is what you should expect. The MS1 isn’t going to attenuate outside noises like something with ANC but get a nice enough fit and the passive noise isolation does a decent job.
Drivability
The MS1 Galaxy is a very easy iem to drive to good fidelity. Rated at 32 ohms and a sensitivity of 108 dBs the MS1 was made to be able to drive off of just about anything. I even liked the way the MS1 sounded straight off my iPad. However, as far as sources goes, I used the MS1 extensively with the Fiio UTWS5 and feel that this was a mobile match made in heaven. I like how the MS1 reacted to the AK4332 dac/amp of the UTWS5. Using the IFi Go Blu was nice as well with 3.5 single ended listening but in my opinion opened up a bit when I used the 4.4 balanced cable. The MS1 is great for those who don’t have super powerful sources, but I will say that they will scale a hair with source quality and power.
Dongle Dacs
I don’t think you need some ultra-powerful dongle dac if this is your favorite way of listening. However, I mainly used Hidzs’ own Hidizs S9 Pro because I think the MS1 reacts very well with the source tonality. Much better than when I used the Fiio KA3 for instance. The S9 Pro with its ES9238Q2M dac chip has just the right amount of neutrality and dynamism to really help the MS1 to sound nice.Daps
I always use my daps the most, I’m a Dap man. Always will be. For me the MS1 actually paired much better with my iBasso DX240 as the DX240 has a closer to neutral sound yet is highly resolving as it is equipped with a flagship ES9038Pro dac chip and I also use the Amp8 MK2 module to beef up the power. The warmer hue to the MS1 is countered nicely with a slightly brighter source. I enjoyed the Shanling M6 Ultra very much as well, but it is more velvet in its sound which casts a slightly stuffier veil across the mix. The iBasso really hit the mark for me.In the end
I wouldn’t worry about power as much as tonality. Try to pair with a more neutral, analytical and energetic source if you can. I don’t think that power plays a huge role apart from some minor upgrades in soundstage and bass density and impact with more power. The MS1 reacts much more to the quality and fidelity of the source and the source tonality.< 1x
The Hidizs MS1 paired with the iBasso DX240 is a perfect match with lovely synergy.
Sound Impressions
I find the Hidizs MS1 to have a nicely warm, relaxed and easy going sound which comes across as warm V-shaped to L-shaped tonal color to me. The sound is very much weighted and thick across the mix with a dense and full note structure. What I hear is a very full bass region which has some serious ability to thump and rumble. I would say that the MS1 Galaxy is approaching basshead levels and certainly could earn that distinction from many hobbyists. Obviously not everyone loves a big and Bulbous Bass so keep that in mind. The midrange is very lush and “smooth as silk” with slightly recessed male vocals that sound pleasant and present to go with slightly more forward females. The treble is relaxed and easy going. This is a treble that can be listened to for quite some time without fatigue. Perhaps too laid back for some but for the majority of hobbyists and target demographic this will suit them just fine. The stage is actually decently sized as it is a sound that is slightly intimate but also pretty large (I’ll explain later). Details suffer a bit from the tuning but what you get in return is a fun sound that you can bump your head too.
If this is all you read
All in all, the sound is nice for the price. We are talking $15 US and even lower if you are one of the first to purchase this set. The sound comes across lush and thick with pervasive warmth which forms a canopy over the entirety of the mix.Not the norm
Don’t let that dissuade you, the sound is uniform and clean for such a bassy & fun signature. Macro-dynamics are not lost in the warmth as the stage is filled with dynamically present sound and each area of the mix is represented. Granted, it may not be to your liking or a tuning that agrees with you, but I cannot call this bad. Not by any stretch. It is well composed for what it is, and we all have to remember that before we judge a set like this. It is a particular tuning, much like other Hidizs sets. Hidizs isn’t afraid to jump off the bandwagon and do something different. So, if anything, the MS1 is certainly a nice counter tuning to some of the usual warm/neutral, neutral, neutral/bright tunings that we so often are presented with. Also…the MS1 can flat out bang!
Bass Region
The MS1 can get it! Thick and warm bass sets the foundation for the mix with a euphonic type note delivery. It hits hard, but it does so with a softly layered density. I liken this type of a sound to a “hammer inside of a sock”. The note definition is not ultra crystalline and hard edged, but it is soothing and very meaty. To put things bluntly, if you dig a bigger bass than you’ll probably enjoy what the MS1 offers. This is a huge portion of the hobby, bass lovers, bassheads, or bass apologists who enjoy a little more fun and low-end energy to get that blood pumping. For $15 it is very hard to complain. Sub-bass
The sub-bass is rock solid and can get pretty low with great haptic energy and resonant vibration without coming across as flabby. Though it’s big it still has good control which is not always the easiest waters to swim. Songs like “Groove” by Ray Wylie Hubbard is a track I always use to explain sub-bass as this track will tell you right away how dense the sound is or how much resonant vibration and tactility your earphones give off down low among other things. Let’s put it this way… The Hidizs MS1 Galaxy will please fans of Hip-hop etc. The sub-bass gets very gritty, guttural and has nice depth and extension though it does have a softer note edge.Mid-bass
The mid-bass is also very thumpy with a hefty slam and plenty of torque for tracks that offer it. For instance, “How it Feels” by Lil Baby & Lil Durk is a banger friends and the MS1 acknowledges this fact and reciprocates with a rotund boom, full-bodied note weight and visceral tactile texture to the sound. The mid-bass can flat-out BOOM! And boy does it sound nice with the right library. Also, keep in mind that the bass does impede on the midrange quite a bit, adding a soft warm blanket over the sound as well. Still, for the most part the sound is exactly what fans of this style want. Bass guitar is very plump, kick drums have that booming quality yet with a soft edge and even male “Bass” singers like Avi Kaplan will sound very sonorous to anyone who listens. Is it the speediest? No, it isn’t. Do fans of this style care? Um… no! Is it clean for what it is? For the most part it is.Downsides to the Bass region
The downsides to a bass like this are pretty obvious but also, I hesitate to call this a downside. Anyone purchasing the MS1 should know what you are getting and for this type of L-shaped rumbly sound the MS1 is fantastic for the price. That said, the midrange does feel the effects of the bass region which casts a slight veil over the mix. Also, the bass isn’t the most detailed or resolving and transient attack & decay isn’t super speedy. Is this a bad thing? Maybe. I happen to like that atmospheric low-end quite a lot. It lingers, adds some of that good old school feel to the sound. However, fans of snappy and speedy bass will likely want to steer clear. The bass is not one that is overbearing however which is something important to note. Somehow it works well with the rest of the mix.
Midrange
The mids are relatively clean in the face of pervasive warmth which covers over this area of the spectrum. Certainly, fans of a neutral & airy sound could possibly call the sound “veiled”, but I think of it more as lush, rich and smooth. Also, “veiled” has more of a negative connotation. In truth, I don’t get anything negative from the MS1 and I don’t think the low-end negatively covers over the mids. In my experience the sound is simply musical & thick as with that thick note weight the MS1 also has a very mellifluous and melodic sound. Now, you won’t hear the shimmer like most sets in this range, and there isn’t that detailed and separated sound coming from instrumentation but what you do get is a nice presence from the mids which is great for a simple and casual listening session. There’s no hint of sibilance or shout and the timbre is quite nice. Lower-midrange
Male vocals are stellar on the MS1. They are forward in presentation with a very bold sound and a very emphasized sound in the face of a slight recession. Especially males with deeper voices due to the warmth and weight from the low-end. Dermot Kennedy sings “Dreamer” and his voice sounds very nicely chiseled out, coming across vivid while he has an almost kinetic texture to his voice. Yes, even in $15 iems. You won’t hear an uplifted and airy sound but instead it comes across refreshingly organic. Dermot has a very coarse voice and the MS1 can reproduce this, but I like that his voice sounds even more voluminous in body. “Cover Me Up” by Morgan Wallen is actually a smooth rendition of a crisp southern voice which sounds more natural than it doesn’t. I’m telling you, the smooth and bodied sound of the MS1 does male vocals very well.Upper-Midrange
The upper midrange still has the remnants of some warmth from the low-end as well as the fact that they aren’t as emphasized as most iems in this area of the mix. For example, female vocals also come across pretty lush while also having a thicker note heft and organic type timbre. Obviously, there is some color to the sound but as far as note structure and inflection it simply sounds more natural. Take Lady Gaga in “Always Remember Us This Way“. Her voice doesn’t have that shimmer or levity like you would usually hear when her voice reaches the higher notes. Instead, those peeks are slightly smoothed over. Now, females are still more forward than males and this pays off for instruments in this region as well.Downsides to the midrange
The downsides of the midrange are the exact thing which makes them different and unique in a good way. If “different” is a downside than please, someone let me know what the “correct” sound actually is. I’m obviously Joking but the sentiment remains. At $15 what do you call bad? Okay, no the MS1 is not a detail king. No, the MS1 doesn’t exhibit perfect separation of instruments. Yes, the sound has a warmth that covers over the sound in comparison to other sets. No, the transients aren’t lightning quick. However, the MS1 is also… musical, melodic and organic. The midrange has an almost facile and perfectly fluent smoothness that is very nice. Will this set be for everyone? Absolutely not, but also… what is? There’s no sibilance and the timbre hedges on being more analog/organic than anything.
Treble Region
The treble region has a laid-back approach with once again a thicker and fuller body & note presence. The treble region doesn’t overexert itself with any glaring peaks or spikes. It doesn’t have any moments of processed timbre up top and definitely zero forced resolution either. There is none of that in the MS1. Now, I could absolutely use a bit more of a rise in this region beginning at the ear gain through the treble, but I’ve actually grown to enjoy this effortless symmetry and congruence of the sound as a whole. There are no surprises here and nothing that makes you wince. Not perfect / Not bad
The treble could use a bit more air and a bit more treble bite. This region could also use more speed and could definitely use some more treble sheen to add some sparkle to the sound. However, that is not what this set was tuned to be. The treble as a whole is a bit pushed back and toned down and doesn’t feel like the cherry on the top like many sets are tuned to nowadays. Is this a bad thing? Of course, it isn’t. Not everyone wants a sparkly treble. Not everyone wants this heightened response to the nuances in a track. To be 100% honest, I actually didn’t miss a thing after spending actual days with the MS1 while critically listening. This also isn’t to say the MS1 is detail deficient either. I’d say they are about average in this regard up top.Listening to Billy Strings track “Ice Bridges” I was happy with what this $15 set could do. The MS1 was actually keeping up with his banjo play, though at times there was a slight mixing of sounds. Still, overall, the MS1 performs better than you’d think. Extension into the upper treble is actually decent as there is nice info past 10k and the sound is pretty clean too.
Downsides to the Treble Region
The downside here has pretty much already been explained from my point of view. I usually prefer an airier presentation and some folks will likely feel the same way. Of course, treble heads will not enjoy the sound of the MS1 up top either. The MS1 could probably use a bit more treble bite with a bit more crispness to the sound. That said, the super airy sound up top is not what this set was tuned to be so calling this a con or a downside is slightly misleading. Furthermore, a benefit to this tuning is you won’t come across sibilance or anything even remotely splashy.
Technicalities
Soundstage
I find the soundstage to actually be well laid out on the MS1. The sound as a whole is actually more intimate and cozier, but Hidizs was able to fill the entire sound field. So, the sound is big, wide, even slightly deep, but the presentation is close & intimate. I see this from time to time and kind of like this way of presenting my library. It’s great for less complex tracks like acoustic for instance or any track with less moving parts. Honestly the sound is quite large friends. Basically, it isn’t some flat wall of sound, it isn’t narrow, and it isn’t ultra congested either. It’s big but it’s also close.Separation / Imaging
As far as separation of instrumentation is concerned, the MS1 Galaxy does a relatively good job of parsing out elements of a stage. This is certainly not a strong suit of the MS1. On more complex tracks you will hear a bit of blending going on. With more simple arrangements the MS1 performs perfectly fine. The Imaging is nice though. Left to right & front to back sounds nicely laid out. I don’t hear any glaring weaknesses in this category. Again, if a song is more complex or ultra bass heavy then you may have a harder time mentally placing instruments. For the most part the MS1 creates a nice mental image of an imaginary psycho-acoustic stage.Details
I would hope that after reading this far you wouldn’t still question whether the MS1 is a detail king or not. I can tell you straight up that it isn’t. Also, it isn’t supposed to be, and honestly, I wouldn’t want it to be. I like the organic and warm approach. Yeah, it’s a bit cozy and intimate but that is the charm of this set. With that said, details are about average of what you should expect from $15. Simpler tracks will yield better results and just like separation & imaging, more complex tracks will not be as refined and decisive in note definition. Also, the sound is lush, it’s rich, it’s smooth and that is not the recipe for a heightened state of nuance reproduction. Still, average is pretty darn nice.
Is it worth the asking price?
This is a question that can only be truly answered subjectively. It really comes down to preference. If what I and others have described sounds appealing and that warm and lush sound with big bass suits you… Then yes, this set is easily worth the price. Heck, I’d even say if you don’t like the sound, it’s worth that. $15 is pretty darn cheap friends and it’s nice to fill your collection with different sound signatures. To answer for myself I’d say absolutely! I enjoy this type of sound.The Why…
First off, the build is pretty nice, but the look of this set is almost a reason alone to buy it. It’s a gorgeous looking iem in my opinion. However, it will ultimately always come down to sound when asking this question. The bass is very hearty and really does move your feet without sounding muddy or flabby. It’s a solid bass region with nice density that bassheads should enjoy. Note weight is another appealing quality as the thick and rich sound usually comes across too veiled at this price but in the MS1 there is some refinement to the entirety of the mix. Also, if you re after a non-fatiguing and non-offensive sounding iem then the MS1 is your guy because there truly isn’t anything offensive about it.
Ratings (0-10)
Note: all ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. In the case of the Hidizs MS1 Galaxy ratings below, that would be $10-$20 bass heavy styled iems of any driver configuration. This set is certainly one I would need to categorize its tuning style. Please remember that “ratings” don’t tell the whole story. This leaves out nuance and a number of other qualities which make an iem what it is. A “5” is exactly average and please take into consideration the “lot” of iems these ratings are gathered against. $100 – $200 US is a small scope of iems and so seeing a 9 is easy to understand. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build Quality: 9.0-Look: 9.8
-Accessories: -.- (At this price Accessories don’t apply)
–Overall: 9.4
Sound Rating
-Timbre: 9.5-Bass: 9.8
-Midrange: 8.2
-Treble: 6.2
-Technicalities: 7.0
–Overall: 8.1
Ratings Summary:
This is one Rating that needs at least a little bit of explanation from me, I think. The first thing to iron out would be the “Treble” Rating of “6.2”. On the surface this may seem fair to most, it isn’t sprightly and energetic or detailed or punchy and so naturally that should knock it down a few notches. However, for those who thoroughly enjoy a non-offensive sound without any glare or sibilance than those people would obviously rate this a hair higher. I feel a 6.2 makes sense but that’s up for debate. The treble basically fits the tuning. Once again, another reason why Rating things on a number system simply doesn’t tell the whole story.Also, the “Technicalities” category is questionable. On one hand the staging is awesome and on the other hand the detail retrieval is about average. Both are technicalities. Imaging is good, separation is about average. Both are technicalities. Roll them all into a ball and you get a “7.0”…my opinion.
Bass heavy iems never score high, they simply don’t. Too many areas get clouded over or muddied. So, seeing a score overall of an “8.1” in the sound section is quite awesome. It says a lot about Hidizs ability to take different styles and make them work. There are other debatable calls in my ratings, but I think you all get the gist of what to expect from the Hidizs MS1 Galaxy.
Conclusion
To conclude my full written review of the Hidizs MS1 Galaxy I first have to thank the awesome people of Hidizs (you know who you are). Thank you so very much for providing this set and never asking me to speak favorably or skew my words to fit your company. I truly thank you. Also, thank you to anyone who spent any time reading my review, I do hope it helps you. Please comment any questions below or catch me on my email at cloveilove@gmail.com. You can also reach me on Facebook as well and I’d be happy to get back. Just keep it cool and don’t be one of those weirdos in the hobby who take everything too seriously. I always end every review with this little blurb; please take in other thoughts about this set. Do not simply rely on my version of what the MS1 Galaxy sounds like. I am only one man with my own perspective, my particular taste in music, my particular gear I use to test, and I form these opinions from my own personal journey through this audio game. Take in other reviews as it’ll surely help you to make a more educated decision. $15 can be an enormous amount to many people (I know because I’ve been there) and even a purchase at that price has to be right for many people. So, reading, listening to or watching other thoughts will only be a benefit to you. After all, you are why we do this, at least that “should” be one of the main reasons. To help. Take good care, stay as safe as possible and God Bless.
KZ AZ20 Review
KZ AZ20
Today I am reviewing the very latest KZ Bluetooth Modular Cable device, the KZ AZ20. I was very happy to receive these Bluetooth ear hooks as I have garnered a decent collection of them over the years and from the promotional material, I see that KZ has added one very good onboard chip. Ya know, I have reviewed quite a few KZ earphones over the past couple years, and I have to be completely honest, they just seem to get better and better. Every iteration of their earphones scales up from its predecessor. So, if KZ takes this same up-scaling theme into their wireless ear hooks then I think we are in for a very well-done set. I have personally loved the advent of the Bluetooth earhook adapters. Doing chores, cutting grass or simply listening to music or watching movies is so cool with them and they get very close to a wired sound. I’ve owned a couple Fiio UTWS3‘s (2-Pin/MMCX) as well as the Fiio UTWS5 (currently the best I’ve heard). I’ve also owned the iBasso CF01 (not recommended) and a few other TRN models that I didn’t care for… Yada Yada. As far as KZ or CCA ear hooks are concerned, I’ve owned or tried a number of their previous bluetooth ear hooks from the original KZ AZ09, the CCA BTX, KZ AZ10 to my personal favorite the KZ AZ09 Pro. Of course, the KZ AZ20 seems primed to jump ahead. So, I think I’m going to cut short the intro and just get into the review, I’m very curious. Without further ado…The KZ AZ20…
Gear used for testing
–Samsung Galaxy Fold 4–Shanling M6 Ultra
–KZ Krila
–CCA Duo
Packaging
The KZ AZ20 arrived at my house in a very utilitarian type of KZ box. Truthfully, I didn’t expect anything elaborate or dolled up as far as the unboxing experience goes. Upon opening the box, you will see the black AZ20 Charging Case which houses the adapters. Also, you get a very short usb-c cable for charging. Nothing really of any great importance here and you get about all you should expect to receive. 
6.6x
6.6x
Build / Design / Fit / Internals
Build
From a build standpoint, the AZ20 isn’t much different from many of KZ/CCA’s previous wireless earhook adapters. Of course, I also don’t think that KZ had much that needed changing. The build is ultra-light, weighing in at a featherlight 4.9g! I don’t know if any of you have any idea how light that is but let me enlighten you or remind you… the AZ20 feel like nothing on your ear. I’ve said it before and I’ll say it again, the KZ style earhook adapters are clearly the absolute best in terms of ergonomics and to be frank, nothing else even comes close. Please believe me when I say that I’ve tried damn near all of them on the market excluding some higher priced (ridiculously priced) models…cough-cough…Ifi Go Pods. Anyways, the build is a reason to purchase in my opinion.The main body or “casing” which houses the internal components of the AZ20 is made of a very hard and robust plastic material while the earhooks themselves are flimsier and more malleable and very skinny with a rubber coating covering them. In fact, the Earhooks are so flimsy that you can hear the iems moving around in the case at times. I absolutely adore the build and don’t think KZ needs to change a thing going forward except if they want to add a bigger battery in the future which would obviously increase the casing size. The 2-Pin connectors are setup in a QDC fashion to fit on KZ iems. However, there is a quick and easy modification to allow the AZ20 to fit all 2-pin style iems. Comment below if you want that mod.
Design
As far as looks, I also give the AZ20 huge props for making earhooks which are actually discrete and easy to hide. These won’t get any huge style points, but they are nice. They serve their purpose and also, I don’t think that style points are what anyone is going for here. I’ll say this though, the AZ20 is way better looking than something like the bulky Fiio UTWS3 or UTWS5 just to name a couple. You have the KZ logo imprinted on the casing along with the multi-purpose button in a convenient spot as well. Next to the logo is the light which tells you different operational cues. You’ll notice “L” & “R” are marked on the base of the rubber earhook so not to confuse any hobbyists. All in all, not bad at all.Fit
Due to the ergonomic build, you also have a very nice fit and I cannot help but think that everyone in the known universe should have zero issues with the fit. Of course, that is only true if you are actually a human being… With ears. Having ears certainly helps with the fit, but I digress. The fit is great which stands to reason when you have such a lightweight and soft rubber with what I think is the perfect curl on the earhook. Light as can be, really, I don’t think that KZ could’ve made them lighter than they are. Pair the AZ20 with whatever earphones you’d like with a QDC style. 2-pin connection and you are in business.
Internals / Chipset
As far as Internals go, the KZ AZ20 houses the battery as well as the QCC5171 chipset. Friends, I don’t want this to go understated that the QCC5171 chipset is truly one of the absolute best in the market aside from putting in independent amp chips and independent dac chips.The QCC5171 is an all-in-one solution that truly goes above and beyond the capabilities of regular chips. This chip also offers a gaming mode as well as end-to-end “UWB” Ultra-Wideband Voice. That is a 32khz sampling for smooth voice calls with a very smooth frequency response by basically covering the entire frequency of what us humans can actually hear. It also has much faster encoding for better wireless connections and the power consumption is very low as well, much lower than what we have been used to. However, the best part of Snapdragon Sound is its music playback and the audio Codecs that it supports…
Codec Support
Some of the benefits of an excellent chipset like the QCC5171 is that it offers excellent codec support. This chip just so happens to offer some of the best that wireless audio has to offer. Also, no it doesn’t have LDAC (ldac is a bit overrated) but has something even better in my opinion like LEAudio and Aptx-Lossless which is actual CD-Lossless quality Audio with Snapdragon sound which can output 16bit/44khz bit-to-bit audio. If your phone supports, it of course. However, the AZ20 also has in my opinion one of the best Codecs that money can buy for sheer density and musicality and that is Aptx-Adaptive which supports 24bit/48khz or even 24bit/96khz audio as well as low-latency audio. The AZ20 also supports Aptx-Hd, Aptx, AAC, and SBC Codecs. That’s a mouthful.Honestly, even if you only use regular Aptx the sound quality is truly great. I promise that very few people can actually hear a difference between Aptx and something like LDAC. The same goes for AAC which IOS users are stuck with. The sound is still very well done anymore, and these Codecs have been really dialed in. I’ve even heard SBC audio that sounds absolutely fantastic. It’s not all about the Codecs friends. I know they want you to think that. Instead look at the technology, drivers, chipset, housing, and tuning. Whether it is tuned completely with an inboard DSP or if there are more traditional methods as well makes a big difference as well. It isn’t the codec, it’s the implementation… Always. Now, it surely doesn’t hurt to tune something amazingly and also have something like LEAudio or Aptx – Lossless.
Controls / Functionality
I’ll be 100% honest, friends, I still don’t know all the controls. I have looked and looked for a list of the AZ20 controls and they are nowhere to be found. I can tell you this, one click answers or hangs up calls, pauses and plays music too. Two clicks on the left are “Previous” track, two clicks on the right are “Next” track. Three clicks on the right are “Performance” Mode and three clicks on the left will cycle between “Bass” mode and “Balanced” mode. Holding down the button will bring up your virtual assistant.Charging Case
The Charging case is actually very much like earlier versions of the KZ/CCA cases. Same size, same shape, but a slight change in the look and outward design. You still have a very large cavity inside the case to attach any iem that fits the 2-pins. You have some foam inside to protect your earphones as well when bouncing around. However, the best thing about this case is the battery. You get up to 54 hours of battery on this case, which is very large by the way. This thing can last a legit week to week and a half on normal listening. Of course, KZ still has the backwards setup where the left side of the case is for the right side earhook and vice-versa. Not a big deal. The magnets work extremely well so you won’t miss align these very easily. Those magnets catch and they are in place in a snap.
Specifications
Product Model: KZ AZ20
Bluetooth Version: 5.3Charging Port: Type-C
Chipset: Qualcomm QCC5171
Bluetooth Range: ~15
Audio Codecs Supported: Aptx Lossless, Aptx-Adaptive, Aptx-Hd, Aptx, AAC, SBC
Signal to noise ratio: 105.1 db
Earphone playing time: ~6 Hrs
Charging Case Battery Capacity: 800mAh
Earhooks Battery Capacity: 35mAh
Extra Charges: 9x
Weight per earhook: 4.9g
Features
Snapdragon Sound
Again, this chip allows for Snapdragon Sound. I realize I’ve already explained a bit about Snapdragon Sound but here is a refresher… Snapdragon Sound is an all-encompassing audio solution bringing lossless (bit-to-bit) sound replay as well as an entire infrastructure that allows crazy low latency for movies, videos and games as well as the most robust connection and high-speed connection too. There is a lot more involved but one of the best features is what Snapdragon Sound does for your music through Bluetooth. Truly it is a game changer for music playback.Bit-to-bit lossless audio is what fans of the technology have been wanting since the beginning. Of course, your phone does have to have support for this. Lossless audio is an exact rendering of the original recording. On top of that, the audio can also scale back its bit rate in heavily RF environments so to never lose connection.
Performance Mode / Low-latency
One great feature of the AZ20 is something that KZ has always used in their wireless tech and that is “Performance Mode” which is basically a low-latency mode. You can get this feature working by simply pushing three times on the left side earhook button. I have to be honest, I’ve barely needed this, but it does help for watching movies and gaming. In fact, one of the greatest joys is watching movies with your favorite iems and there is no delay whatsoever. Now, playing games is a little more up & down as on first person shooters (FPS) it isn’t always perfect but that is only when playing extremely complex games. Furthermore, I don’t think that there is any tws style wireless tech that completely nails latency in complex gaming situations. Every other type of gaming on my phone works like a charm.Gain Modes
Now, please don’t quote me on this because I haven’t gotten any confirmation at all from KZ, though I did reach out. However, just like the AZ09 Pro and KZ’s other Bluetooth earhook adapter models, the AZ20 does also have a gain function in what is advertised as a Bass mode & Balanced mode. The weird thing is that there is absolutely no info that I’ve found telling you how to achieve this. No internet manual pdf, nothing in the advertising, other than that the AZ20 has these functions. So, being that I use the AZ09 Pro every now and again I do know that “High Gain” mode was pushing three times on the left earhook. Coincidentally, when is do this, I do hear a definite gain in volume, dynamics and density of the sound. If I hit the left side three more times the sound does even out a bit so I’m supposing this is what they mean in their advertising as “Bass” & “Balanced”. Again, if you do quote anything I say here make sure to add that I’m not entirely sure. Without question I will update this upon confirmation.Battery Life
Battery Life is said to be six hours on the earhooks themselves. I have not been able to test this, but I can say that I have yet to run out of battery life and I use the AZ20 every day. Usually when you read a marketing for battery life, they will give you the lowest codec battery life. So, I’m assuming if you listen using SBC codec you will get the full six hours. I could be wrong though as there is no material anywhere to confirm or deny it. Again, using the case you’ll have an additional 54 hours of battery life which is absolutely awesome.Call Quality
One of the benefits of the inboard chipset is that it allows for Aptx-Voice Technology or Ultra-Wideband Voice support. The AZ20 also has CVC 9.0 on board for crystal clear calls. Friends, I have many meetings through TEAMS in my day job and I spend quite a lot of time in those meetings. Thankfully I’ve been able to use the trusty AZ20 during those calls. All of my partners know what I will ask of them before the meeting takes place… “Guys, be honest, tell me exactly how I sound!”. All I heard was good stuff about the AZ20 from both the people I work with as well as my wife.
Sound Impressions
I will keep this portion brief because there is only so much you can say from a source such as this, but I will try my best at giving you a good rendition of my time spent with the AZ20. Please trust me that I’ve spent a few straight weeks with these adapters. I spent most of my time using KZ iems due to the QDC style 2-Pin. Primarily I used the KZ Krila due to the fact that the KZ AZ20 is not the most powerful earhook adapter (much like most earhook adapters) and performs much better with very sensitive iems. I would have performed the modification to the 2-Pin but wanted to make sure I review this unit “As-Is” out of the box. To begin the “Sound” portion of the review I find the AZ20 to be close to warm/neutral and relatively dynamic so long as you use the gain function by pushing three times on the left side button. Compared to the AZ09 Pro, the AZ20 has more density to the sound with a seemingly wider frequency range. I feel the AZ20 has a boost in overall macro dynamics as well as control.
Between the 20’s
As far as what you’ll hear in between the 20’s; the bass is nicely present as I hear some slight low-end coloration with a small boost down low to make things interesting. I love that the AZ20 gave the Krila some nice sub-bass boost and gave the Duo some needed rumble as well. The midrange doesn’t sound too laid back or too forward. If anything, the mids are a bit more pronounced which makes a set like the Krila very pleasing for vocals. The treble is not overcompensated and doesn’t offer any sibilance. At least nothing greater than any earphones’ natural proclivity towards it (sibilance). Meaning, the AZ20 won’t add any more sibilance. The treble has a decent bite up top and gives some levity to the mix. Especially with warmer sets.The soundstage is whatever your earphones will give you and doesn’t really come from the AZ20, but I could attach that to anything I state here. In truth, all the AZ20 can do is further color (or not) the sound and add dynamics (or not). However, one thing the AZ20 does over something like the AZ09 Pro is draw out the subtleties and nuances within a track much better. Detail retrieval is actually a step up without losing focus on sound density and dynamics. KZ is getting closer to that “wired” type sound with these Earhooks. Again, imaging is as good as your earphones but there is some persuasion from the Earhooks. Let’s put it this way, the AZ20 doesn’t make any earphone worse in this sense.
Downsides to the sound
I actually completely enjoy these lil baddies. They are very nice, and the sound is fantastic. However, there are some issues that I have. For one, KZ… why is the volume so low? I tried using the KZ AZ20 on a few different sources like my iPad, my wife’s phone, my Samsung Galaxy Fold 4 and my daps and on each the volume just made it to acceptable levels. We want headroom! Pump these things up! I want to have to turn these down because they are too damn loud. That said, this does make me question the Drivability of the AZ20. Now, I didn’t have an issue with any set I used as far as how well the AZ20 can drive them. Still, I honestly have to max these out to get a good sound level. I will also add that I like to listen pretty loud.Another issue is not an issue with the sound itself but with the experience when listening to my music as there is no way to turn up or down the volume from the earhooks. In this day and age, we shouldn’t leave this simple function out. Of course, I’m sure that not many will be too bothered by this as these are the only true downsides for casually listening to music that I can think of.
Quick Comparisons
KZ AZ09 Pro ($40-$45)
The AZ09 Pro I’ve mentioned a few times in this review, and I’ll tell you all something… For the price that set is hard to beat. It does everything that the AZ20 does, but the sound quality takes a slight hit. As far as the intangibles like connection, call quality, and different modes of operation I can tell you straight up that the AZ20 eclipses the AZ09 Pro handily when comparing connection speed and strength of connection. I lose signal with the AZ09 Pro every now and again and it isn’t a big deal because they are so cheap. I deal with it and reconnect. However, for $88 the AZ20 better have no issue at all, and I can absolutely say that the connection is rock solid. Everything else is darn near identical. All functions are just about the same.
Now, battery life on the AZ09 Pro gets you about an hour more of playback but 8 hours less with the case so I think that’s a trade-off unless you actually keep these things in your ears that long… I feel bad for your ears if you do. Anyways, the AZ09 Pro only carries Aptx, AAC & SBC rather than the ultra-Hd audio Codecs that the AZ20 gets you. Also, the chipset is a downgrade on the AZ09 Pro with its QCC3040 chipset from the QCC5171 chipset of the AZ20. Granted, the 3040 is a tried-n-true chipset which is very well established. However, it is still a downgrade.
Sound differences
Speaking of sound, the sound is a bit leaner on the AZ09 Pro and you don’t have that density and note weight of the AZ20. The AZ20 also has the more impactful bass, lusher mids and more sprightly treble. Honestly, it all comes down to sheer macro-dynamics and I can tell you that the AZ20 is truly an upgrade in that regard. The sound is cleaner with less floor noise and better transient attack & decay. The AZ20 really does hit the mark in the sound quality department in ways that the AZ09 Pro cannot. No doubt about it. There is one thing about the AZ09 Pro that it outduels the AZ20 and that is in volume level. I can get the AZ09 Pro slightly louder. However, the sound quality and fidelity aren’t as good, so it is a moot point.In the end
This is simple, how much do you want to spend? Costing about twice as much as the AZ09 Pro, the AZ20 in my opinion is twice as good. Of course, I’ll pay for incremental differences in sound and fidelity. It may not mean as much for you. You may only want this set for phone meetings or to watch movies and in that case, I’d probably go with the less expensive set. Still, in the end, the AZ20 is certainly the more audibly proficient and sonically gifted earhook with a more visceral and vibrant sound as well as a much better connection.Fiio UTWS3 ($59)
This is where the AZ20 may begin to find some issues? Or will it? On paper the UTWS3 should be the better set as far as sound quality goes with its independant amp section and greater power. Much greater power (I’ll cover that in a minute). There are some huge discrepancies though. The UTWS3 came out a few years ago now (believe it or not) and the chipset is very much outdated and old as they use the QCC3020 chip. The thing I find the most troubling about the UTWS3 is the connection reliability. Please trust me, the UTWS3 drops connection quite a lot. Too much for a wireless device and will only end up upsetting you in the end. Also, the UTWS3 does weird things like; not recognize when you put it in the case. Or not turn off, or just randomly turn on and use your phone’s bluetooth… while the UTWS3 is in the case! So, as far as intangibles… Fiio ain’t got nuthin’ on the AZ20.
Sound Differences
The first thing I noticed when comparing the sound is the obvious power difference between the two. The Fiio UTWS3 is most certainly able to drive slightly harder to drive iems a bit better. This is not world changing but there is a difference. The UTWS3 has headroom. Maybe not like its big brother the UTWS5 but… It has some juice.The next thing I noticed was, the UTWS3 has more warmth and comes across less crystalline and clean. The AZ20 has the more transient quick and detail-oriented playback which seems airier whereas the UTWS3 is a bit more bass present but also a hint less resolute. These are very minimal differences here. That said, the UTWS3 is also the more fun sound, bigger low-end, better extension in the highs (up for debate) and simply the more dynamic presentation. This is not to say that the AZ20 doesn’t have a nice low-end because it certainly does. In fact, I’d say the low-end is cleaner on the AZ20, slightly less in quantity but better separated, more mature and hardly less dynamic. The AZ20 midrange is better to me with more forward mids which retain some lushness with great presence for vocals while the UTWS3 is all lush and less technical. Between the two, I do prefer the AZ20 because the sound is more resolving with a more technically adept sound that still holds onto some nice dynamics but also has a better dynamic range.
In the end
Honestly, unless you have some mmcx iems you want to use, or you hate modifying things and cannot spend over $60 then I’d say the clear winner here is the AZ20… ALL DAY. Just a better set. Maybe not as rich in density and lush vibrance but the AZ20 has better dynamic contrast and is simply airier with a more convincing replication of a wired sound. It’s the dynamic range in comparison and the note definition within that range that larks a difference. Or the punchiness and tactility of each note rather than the UTWS3’s softer and more fuzzy note definition. However, you have to get what works for you. The AZ20 has a top-of-the-line chipset that is at the cutting edge of what one should be able to get under $100. Of course, I wish that the AZ20 had more power. Still, if you have sensitive iems then the AZ20 is nice folks.
Is it worth the asking price?
This is a good question. I suppose for some folks the AZ20 and all its benefits wouldn’t be needed, and they could quite happily rely on earlier versions of KZ earhooks. For some the AZ20 won’t have enough functions to justify the price. It all comes down to your own particular situation I suppose. What I do know is that KZ created the AZ20 to sound good, fit good, and function good, and in my humble opinion they succeeded with those, and I don’t think many people would argue against that.They do lack some bells and whistles compared to many of today’s wireless devices. In the same breath, does anyone here really need ANC or wireless charging, ambient mode… etc? I can make pretty solid arguments both ways but at the end of the day everything will always boil down to your own specific needs and even more so… your wants. Speaking for myself, I don’t need the gimmick that is ANC or ambient mode and I never use wireless charging and so I don’t find those things necessary or even beneficial to me. Still, I’m not you.
The Why…
Speaking only for myself… I thought $88 was a bit steep at first. The reason is because I’ve actually purchased many earlier versions of KZ/CCA earhook adapters which were always under $50. As you can see $88 is a large price jump. It wasn’t until I found out what chipset they were using that I understood. Folks, KZ went for the “crème de la crème” as far as Bluetooth chipsets goes and honestly, you can hear it and feel it with the great sound and ease of use.On top of that, the AZ20 are the best fitting and most comfortable earhooks that I know of. I really believe that. The build and design are such that they feel like nothing on the ear. Reception and quality for calls is fantastic, the wireless connection is truly flawless. However, the real reason is of course the sound. The AZ20 is simply clean for a wireless device, trumping the top tier earhooks from only a couple years ago and quite easily outclassing the lesser expensive earhook adapters.
Why cont…
Also, the AZ20 earhook adapters are just… easy. Everything works as intended, they are easy to use across the board and when I look at these adapters as a whole, I’d say that yes, the AZ20 are certainly worth the asking price providing they make sense for your life.Now, that is a loaded statement, I realize this. I also own the Fiio UTWS5 which is better in almost every regard besides fitment, of course it’s also $40 more in price. So, for my particular situation is it worth paying $88 for the KZ AZ20… Probably not. Unless I have money to burn, which I don’t. Maybe I’ll say it in another way… In a hypothetical world, if I didn’t have any other devices I would without question find the AZ20 the perfect device to purchase, probably over all others. I do think it’s that much better than past KZ/CCA earhook adapters as well as other models from other companies. At least from those that I’ve actually used. KZ did a nice job on these folks.
Ratings (0-10)
Note: I want to preface this section with a few thoughts. All ratings are based upon my subjective judgment. These ratings are garnered against either similarly priced sets or with similar driver implementations or styles with the unique parameters of my choosing. I don’t really feel ratings are the best way to distinguish how good or not a device is. Ratings leave out nuance and don’t tell the story of how anything truly performs. These particular ratings of the KZ AZ20 will be garnered against other earhook adapters ranging from $30 to $100. This is actually a very small pool of devices believe it or not and so seeing a Rating like “9” shouldn’t surprise anyone. Also, a “5” is exactly average. My ratings are never the same and each set of ratings tells a different story. Each time you read one of my ratings it will be unique to that review. Basically, I create a Rating that makes sense to me.Aesthetic
-Build: 9.4-Design: 10.0
-Fitment: 10.0
–Overall: 9.8
Functions & Features
-Features: 7.8-Feature Function: 9.7
-Battery: 9.2
–Overall: 8.9
Sound Rating
-Timbre: 9.5-Bass: 9.3
-Midrange: 9.6
-Treble: 9.0
-Technicalities: 10.0
–Overall: 9.5
Ratings Summary
I did not enjoy Rating these earhook adapters… At All. I find it extremely difficult to do so. There is so much nuance and intangible little pieces to the puzzle which gets left out by simply seeing a “9.5” overall sound rating. Quite literally I could argue against almost every Rating I established above… to a degree. This also took me a very long time because I don’t like slapping a number of things. However, ratings can have their place and be helpful, but I just remember that a lot is missing in simple number ratings.The only portion of ratings I’m truly happy with is the “Aesthetic” category. I feel good about those. Eh, the “Sound” ratings are pretty cut and dry as well but there are some questions there too. I suppose the real issue comes down to this; by what standard do I derive these ratings, other than my own subjective judgment? Secondly, how am I to think that anyone else thinks as I do. Not everyone owns my same gear, has heard what I’ve heard and likes what I like. Basically, try to remember that these are simply my ratings that I made for my purposes and against those devices that I’ve heard and used. I do hope they help. All things considered; I think I got them right to the best of my ability.
Conclusion
To conclude my full written review of the KZ AZ20 I have to say that I have been very impressed with this set of earhooks. I will continue to use them daily as they have been a perfect case of “ease of use” and convenience. I really truly think they are fantastic. With that, I want to thank KZ as well as Tyvan Lam for providing the KZ AZ20 in exchange for a feature at Mobileaudiophile.com and some exposure of their product. Thank you very much. I also want to urge you all to please pursue other thoughts of the AZ20. I am only me and not everyone thinks as I do, has the same likes and dislikes, hearing abilities and not everyone has been down the same journey through audio as I have. So please check out other perspectives before spending your hard-earned money on anything I review. Remember, the point is to help you all get these decisions right. Well, and because writing these reviews are 100% therapeutic and an awesome creative outlet. Thank you for reading, take care, stay safe and as always… God Bless.
4ceratops
Thanks for the detailed review and for the comparison with the AZ9 Pro. I think in the case of the AZ20 I would miss the power reserve that the AZ9 Pro thankfully has. As a final note, I am one of the lucky owners of the first AZ9 Pro edition, which still had the Aptx Adaptive codec.
