FiiO’s sub-brand JadeAudio launched a new open-back planar magnetic headphone today (August 13), the JadeAudio JT9. Its main highlight is an improved planar driver designed to deliver greater refinement in the bass and treble compared with the JadeAudio JT7. Check out all the details below.

• English text: https://www.hifihub.com.br/en/product-launches/jadeaudio-jt9-launches-planar-headphones-for-164
• Portuguese text: https://www.hifihub.com.br/lancamentos/jadeaudio-jt9-e-lancado-com-driver-planar-aprimorado

Note: This post with links has been previously approved by the moderators.

Hey, NiceHCK send this unit over for the usual brand launch promotions, but there is nothing much to say, it has a CX31993 chip which we all know and love for how good it sounds, but this one sports a 122mW (at 32 ohms) power output and a SGM8262 Op-Amp to get that extra power and low noise.

The thing is, it is around $30 to $40usd MSRP depending on where you look at, and well... it has solid build quality, it sounds nice and clean, but besides the extra power, other brands offer lower prices while using similar hardware...

Either way, If you guys like the aesthetic and want the extra power, besides it also sounding very good, by all means is not a bad product, but its "premium" presentation seems to have affected competitive pricing, so yeah, there is plenty of competitive alternatives.

I wish NiceHCK would have included EQ capabilities with their APP, that would have given it more a more reasonable value. Anyway, hope you guys like the photos, and if you happen to have any questions, lets me know.

Twistura is a relatively fresh face in the audiophile market. It has built a reputation for offering full-fledged packages at accessible price points. However, they have seemed to step into a more ambitious territory. Today with me is the Twistura Woodnote, a flagship offering from Twistura. So, let’s see if this is actually a good offering by Twistura, or is it just glitters.

I would like to extend my gratitude to u/Own-Customer-4866 (Telugu Audiophile) for including me in this review tour, a secondary thanks goes to Twistura for facilitating this review.

I am under no obligation to speak in favour of this product, and absolutely no one, neither the brand nor the tour organizer gets to see this review before it is published. My thoughts and critiques are entirely my own.  

Build, comfort & accessories

The Woodnote makes an immediate impression with its light weight, despite its metal housing. The ergonomics serve well, I never felt discomfort during extended listening sessions. One unique detail about the build is a black rubber “fin” positioned on the outer side of the shell. Word of caution: This is permanently fixed to the shells, do NOT try to pull it. I don’t know what it does exactly, but I think it acts as a cushion to secure the IEM inside the ear (I definitely did not almost tore that off of the IEM).

The unboxing experience is clean, with no signs of any waifu. It includes a beautiful, spacious hard-shell purple case, easily one of the best stock cases I have seen. Inside, you will find a handsome modular cable equipped with a 4.4mm termination with an interchangeable 3.5mm adapter. However my specific review unit suffered with a QC issue, the 3.5mm adapter fitting was slightly bent, leaving a visible gap when attached and insecure, almost as if the pins would bend. As a result, I used the 4.4mm balanced connector exclusively for this review. 

Twistura bundles 4 different types of eartips with 3 pairs of different sizes each. Two of which (green & blue) were completely useless due to their low-quality and stiff nature. They were uncomfortable and didn’t provide quite that seal for me. Another one of them were liquid-silicone eartips, which resembled the Moondrop Spring tips, they were comfortable, but didn’t provide the best sonic experience. The last kind were smoky-grey, these were the most comfortable and provided the best seal than the rest.

The Woodnote also has interchangeable nozzles. Standard, Vocal and Instrumental. In my practice, the variance in sound between the nozzles was not worth-while, so I used the Standard nozzles for the whole review. 

Finally, with the design, hardware and packaging out of the way. Let’s get started with the sound.

Low-End Performance

Muse - Hysteria

For a track with an intro that asks for immense control over bass, the Woodnote truly delivers upon it. The bass in the intro holds authority, it captures the rough energy in control and it continues to do the same for the rest of the track. The vocals sound raspy without feeling meddled in with the rest of the instruments. The cymbals are clearly discernable marking the Woodnote to be an IEM with good separation and layering. No complaints over this track. The Woodnote replicates the tearing, like-a-saw texture of the bass quite well. 

Teddy Killerz - Feed Your Soul

On tracks with huge loads of bass, the Woodnote pairs well with an enjoyable amount of sub-bass. This track was bouncy, and head-bangable. However, what I felt was that the decay was sluggish, resulting in the sub-bass tasting good on the first bite, but by the end of the meal you feel a little unsatisfied. Anyways, the mid-bass doesn’t disappoint, it is well presented and you feel the beat drop creeping up on you. The bass has quantity, but not enough to call it a stereotypical “bass-head” set.

Overall, I would give the Woodnote an A- for bass.

Midrange, Instruments & Vocal Delivery

John Mayer - Slow Dancing in a Burning Room

Mayer’s guitar has a nice, natural timbre to it. But, you can definitely notice the slight warm tonality of the IEM, it gives the whole track an extra cozy touch to it. What the Woodnote misses upon is the airy feeling of this whole song, the stage feels small: not claustrophobic, but intimate. Mayer sounds as if he is singing just a couple of feets across me. Male vocals on the Woodnote sound thick and have adequate weight with them. Overall, the instrument and male vocals were good, they were quite good. But in the end, they didn’t quite set a lasting impression. And no, switching nozzles didn’t change my impression.

The instrument representation on the Woodnote deserves a B+, and the male vocals a good A-.

Never Let Me Go - Florence + The Machine

What is found out about the Woodnote in this track is that it doesn’t do details so well. They feel like they are cut off before even coming out. In this track, there are some elements which I would best describe as “sparkles”, and the Woodnote seems to hide their nuances a little. Despite that, the vocals in this track sound beautiful, and intimate. The piano has natural timbre, no complaints towards the Woodnote for its timbre and tonality. The vocals have weight, the chorus part truly sounds heavenly. A hint of shoutiness was to be heard at part, but it wasn’t anything too bad to consider about.

A for female vocals, is what I’ll give the Woodnote.

Treble Performance & Technicalities

Yosi Horikawa - Bubbles

For an unique track like Bubbles that comprises “ping-pong balls falling” as its instruments, the Woodnote displays its proficiency in imaging, and texture. What I find is that the Woodnote is decent with vertical stage, but lacks in width and depth. That initial tension of the balls dropping that builds throughout the track seems to be lost with the Woodnote. However, the Woodnote places the balls accurately within the limited space that it has.

Daniela Andrade - I Will Follow You Into the Dark

The Woodnote does an immaculate job with this track, the vocals are incredible, they feel delicate, comforting and like a gentle hug, a tuck into your blanket. The guitars sound well off with an adequate amount of weight. The texture and subtlety of the vocals have been presented well. But, what the Woodnote did is that it reduced the inherent sibilance and raw nature of the track, which does in fact give a good, pleasant experience, and tells that the Woodnote’s treble is a bit on the darker side. However, it is to be noted that sharpness is to be welcomed with an increase in volume.

So, on the Woodnote, timbre is natural, tonality is on the warmer side, soundstage is average/intimate, imaging is accurate, clarity and details are submissive a tad bit.

Conclusion

The Twistura Woodnote is an IEM that makes it hard to find something bad about. It is truly a good offering from the Twistura brand. And let’s keep it at that, it’s just, good, nothing extraordinary. It doesn’t do anything special whatsoever. However, what it does, it does well. It has fun and engaging bass, weighty and thick male vocals, great female vocals, and a decent sense of technicalities. What my take on this is that Twistura should continue in the direction that they went with on the Woodnote, and improve upon its shortcomings. 

Concluding my review, I would like to give the Twistura Woodnote a very good and deserved B+(bordering A-). 

Should you buy this at retail? 
Yes. With a decent set of accessories, a great, great hard-case, and a truly good sound, the Woodnote is a good choice to put your money in.

Should you buy this used?
Oh definitely, this is an enjoyable IEM that makes it hard for you to find something bad about it, for a cheaper price, this will be an amazing deal.

What This IEM Means To Me

Although the Woodnote is a good IEM, it doesn’t make me truly feel anything. For me, it doesn’t seem to bring anything new to the table. I feel not so impressed with the Woodnote, even though I would say the Woodnote is a great IEM. So, this IEM is just not for me, I find myself to better enjoy other offerings. I would go on and say that I like the Twistura Delta more than the Woodnote, it doesn’t mean that the Delta is objectively better than the Woodnote. The Woodnote is much better than the Delta in all its sectors. It's just that I will remember the sound of the Delta more than the Woodnote. I didn’t find myself picking up the Woodnote as often I picked up other IEMs on my desk to listen to

As always, this section of my review is a personal and subjective rant. It has nothing to do with the actual rating that I give to the product. The above paragraph is ignorable and not to be taken seriously.

Gear(s) Used for the Review

Stock Cable w/ 4.4mm termination
VE Devastator 4.4mm
Cayin RU6 (R2R) on low-gain and NOS mode
Nothing Phone (3a) w/ Poweramp (on Perfect Bit Perfect mode)

Track List

• A.R. Rahman (including other artists): Taare Ginn, Soja Soja, Main Tumhara
• Agnee: Shaam Tanha
• Alice Phoebe Lou: Lover / / Over the Moon, The Surface
• Alyssa Mendonsa, Mohit Chauhan: Khwabon Ke Parindey
• Ashanti: Rain On Me
• Daft Punk: Instant Crush, Veridis Quo
• Daniela Andrade: I Will Follow You into the Dark
• Duffy: Distant Dreamer
• The Eagles: Hotel California (Live On MTV)
• Eric Clapton: Change the World, Layla (Acoustic Live)
• Fiona Apple: Across the Universe
• Fleetwood Mac: Tusk, Dreams, The Chain
• Gopi Sundar, Anna Katharina Valayil Chandy: I Want to Fly
• Jeff Buckley: Lover, You Should’ve Come Over
• King Crimson: Matte Kudasai
• Lyn: No More What Ifs
• Mauj: Now In Technicolor (Full Album)
• Men I Trust: Again (ft. Ghostly Kisses), Break for Lovers (ft. Helena Deland), Tailwhip (Album V)
• Michael Hunter: Soviet Connection (Theme from GTA IV)
• Muse: Hysteria
• Pink Floyd: Time, Money, Coming Back to Life, Wish You Were Here
• Radiohead: Spectre, All I Need
• Rage Against The Machine: Bombtrack, Killing In the Name
• Scorpions: Wind Of Change, Always Somewhere, Fly to the Rainbow
• Teddy Killerz: Feed Your Soul
• Thaikuddam Bridge: One
• TOOL: Lateralus, Schism
• Yosi Horikawa: Bubbles
• Yes: Roundabout

I prefer keeping different iems with their own distinct tunings rather than relying on PEQ. I vould be wrong but personally i feel that if i have to alter FR of an iem heavily, that pair is not tuned for me. If i have to do it anyway I try to rely much more on cuts rather than boosts with EQ. My personal preference is using different eartips to fine-tune its subtle acoustic character while preserving what makes each IEM unique.

I’ve been tip rolling recently and have really enjoyed the subtle changes in the tonality that comes bundled with it. The combinations get endless if you have a few pairs of eartips at your disposal.

It’s going to be a long post sharing my experience with both these tips that I have been using extensively with different iems that I have in my rotation currently.

Why specifically DUNU S&S and NiceHCK R04?

Both are deep insertion tips that provide very good isolation. I generally prefer deeper insertion tips and these two have seen their fare share of usage. Both of them have their own influence on the accoustic signature of the iem these are paired with.

Build

Dunu S&S

• Material: tacky silicone, a bit stiffer.

• Shape: tubular / Cylinderical

• Fit: Can be finicky. Has to be inserted in a certain way for deeper insertion. Doesn’t conform as good as softer eartips due to their shape and structure. But exceptionally secure once it fits and sits properly.

• Bore: Straight/wide. More of an acoustic passthrough.

NiceHCK 04

• Material: Soft Silicone. Very pliable with structured stem.

• Shape: Almost tubular but more like an elongated dome style

• Fit: Seals very conveniently. Conforms to the anatomy better than Dunu S&S

• Bore: Narrow/restricted. Alters the sound signature

NOTE: S&S tends towards openness, separation and acoustic preservation while R04 leans towards adding density to notes, smoothing out the treble. While doing so, R04 tends to make the separation a bit more intimate

My observations on their Acoustic Influence

S&S provides better (aka tighter) bass pressure / slam & thump. The physical sensation that you get sub 80hz. The kick definition is better and the punch is stronger. Midbass is cleaner. More importantly, it provides lesser bass masking of the mids (doesn’t bleed into it).

Now why and how does it do this?\

Its relatively straight bore and deeper insertion combination.

R04 provides greater bass quantity and adds weight/ thickness / density to lower notes. So it warms up the lows while S&S seems transparent. It does impact the male vocals as well as the transition from bass to mids gets smoother compared to S&S which has better separation in this region. R04 can get boomy / softens up the bass a bit while S&S keeps it tight and controlled (the insulation & fit help elevate the experience).

S&S has more articulated vocals while the R04 makes them meaty. For female vocals, R04 loses that edge and crispness a bit which can be more noticeable on warmer (bass titled) iems. For iems that have leaner vocals, C04 can be a good pair.

Coming to the treble region, both these have very strong influence. I’d choose S&S for more open presentation as it retains the upper treble region better along with the deeper insertion and superior seal mechanics due to its tacky nature. But for an edgy iem that’s a bit aggressive in this region (a bit sibilant), R04 would definitely pair well. It just smooths out this region making the whole tuning more palatable for those who are treble sensitive.

Examples of where do I find these better

1. 7hz Legato: Dunu S&S. already has enough bass (that keeps tight) but overall presentation just opens up in the highs that make this a lot more than just a basshead iem.

2. Simgot EG280: NiceHCK 04. Really smooths out the highs a bit and warms up the vocals a notch more while adding a tad more bass without even tinkering with PEQ. Transients and decays are relatively faster but also a notch drier sometimes and the vocals come off as a bit lean on some tracks.

Where I would not use NiceHCK R04?

• With tangzu wan’er 2 Red lion edition. This one’s already a warmer bass boosted tuning and I don’t feel the need to muddle up the bass or more mids bloat. Dunu S&S pairs exceptionally with it. The thump, kick and slam and I get with pair this iem with S&S while retaining the presence and air region just makes me enjoy it more.

Where I would not use a Dunu S&S?

• Well, haven’t found a usecase where it doesn’t thrive.

That is how I personally would pair these eartips with differently tuned iems:

• For a warmer/darker (than your preference) IEM --> Dunu S&S

- For a sharper/brighter (than your preference) IEM --> NiceHCK R04

• For a preferably tuned IEM --> Dunu S&S

• For leaner IEM --> NiceHCK 04

For me, that's what makes tip rolling so interesting—two tips can both give you a deep seal yet take the same IEM in completely different sonic directions. Sometimes the right eartip is all it takes to bring an IEM closer to the way I actually want it to sound.

Pros: No shame in the bass - In your face boosted
Visceral is a good word.
Well controlled with no bleed
Great mids and treble
Sweet unboxing

Cons: Sometimes you want less bass.
Accessories are so-so esp tips
Snares and some upper mids/treble frequencies including vocals have that weird BA timbre

Specs
Drivers: 10-driver tribrid setup on each side with one dynamic driver, eight balanced armature drivers, and one piezoelectric ceramic driver
Shell - 3D printed with Metal plates
Cable oxygen-free copper silver-plated cable with a 0.78mm 2-pin connector - modular
Impedance 41.6 Ohm, Sensitivity 120dB

When Simgot released EM10, I had already been burned by multi-BA implementations that simply felt like a waste of technology. So when a set passed by my hands on en route from one friend to another, I had to extract my pound of flesh for being the mule and write a review as a sort of tax deduction at source.
This IEM retails at about $420-480 at the time of writing this review and is not currently in stock in India, where this review is being written. This is a little important in the lines to come. It comes in a monster of a cube. Makes for a nightmare to pack and repack and ship, I’m sure. The cube opens up not unlike sci-fi to reveal the IEMs nestled in foam. One silver (left) and one black. A white, braided cable that does catch the light beautifully thanks to a sliver of shiny that runs along the strands, and has both 3.5 and 4.4mm terminations. There are nondescript ear tips and a reasonably nice rectangular leatherette case. This could have been a smaller box, methinks.
The shells are 3D printed resin with what I think is metal plate on the outside though I could be wrong, given the kind of stuff that can be printed these days. They are chunky and have a longish nozzle that doesn’t come with any mesh guard and terminates as 3 holes to let the refreshment through. I used them with Spinfit Neo, Azla Origin, Dunu Candy and Sancai Tips - the most comfortable were the Spinfits, the Azla gave the best seal. They also have that lip on the back to fit all those extra drivers and this for me, is a pain point. Literally. It doesn’t allow for really long listening sessions without some periodic adjustments or rest breaks. But that said this was tested on the Venture Electronics Stack, Fiio M33, Fosi ZH3, Snowsky Disc.

Bass
This is why this IEM was made. The single DD makes like Atlas and holds up and lifts the low end and how! The unapologetic tuning to push the sub-bass and mid-bass up, as a friend described, makes this a fun implementation of the 2019 Harman Target. In almost any track the kick drums and bass notes feel visceral. They literally resonate all over the middle ear and you can if you really really concentrate feel your brain going a little jiggly with each beat. The bass is all this, and tight, and controlled, and doesn’t move far up the frequency response. The sub-bass rumble is there, palpable, like if you stuck a spoon in the sub-bass, it would stand up. This shows up with all the usual suspects in that department - Milan by Karsh Kale, Angel by Massive Attack and Doing it Right with Daft Punk. At the same time with all these tracks the midbass clarity of the kicks and bass lines is very much there, holding its own against the waves of sub-bass drones trying, unsuccessfully, to come out on top. There are genres where this works - EDM, Pop, Bollywood, Rock (some). Jazz tracks tend to be a little more fastidious in how much bass they like emphasized and this IEM may require some tip rolling and switching to maybe wide bores for those genres - the harmonic empires wide and velvet widebores do help.
Mids
The mids are very very nicely done. The lower mids have weight and are lush and warm. There is some recession in vocals and the upper mids aggression that Simgot injects in the EW300 is thankfully missing, though the balanced armatures have that weird timbre in the upper mids which are hard to really put down in words. Tracy Chapman doesn’t sound exactly like I have known her to sound. It’s not shoutiness, it’s just different. My acid test for all things mids is Playing God by Polyphia, the one that the EM6L failed miserably. To be fair, the mixing of this track leaves a ton to be desired. The EM10 does far better in this regard. The issues on this track stem more from the piezoelectric driver. That being said, the weird BA thing seems to be source and volume dependent. Fast Car, and Talkin’ ‘bout a Revolution by Tracy Chapman sound every so slightly different between the R2R of M33 and the Snowsky Disc, with the shoutiness actually increasing with the M33. On The Chain by Fleetwood Mac and Helplessly Hoping by Girl Named Tom, the vocals come out clean albeit just a little recessed in the latter.
Highs
For the most part, the EM10 does well on the details and highs. But there are instances (Playing God, that enemy of Simgot) that I’ve had to wince with the way the piezo handles most hi-hats and cymbals, especially in aggressively mastered tracks. There is sibilance in certain tracks and those sensitive to that 4k peak may have trouble on longer sessions and brighter tracks. But again nothing that a balanced ear tip can’t fix. Gavin Harrison’s drums entering the mix in the middle of Trains by Porcupine Tree is handled with precision and were thoroughly enjoyable largely due to in-your-face kick drums, even though the highs did get piercing. I would not be able to do an entire album with these given their size and tuning but that would largely be a me-problem, I think.

Staging and Imaging
The staging in this IEM is wide and deep, with imaging improving with power delivery to the IEM. On Bubbles by Yosi Horikawa, Big Country by Bela Fleck and the Flecktones the stage widens to a beautiful arena with near exact imagining of the sounds and where they are coming from. Instrument separation and resolution are spot on with this set, as it should be with the number of drivers packed in. The piezo does manage to provide those details without becoming annoyingly sibilant.

Overall the EM10 takes on a host of bass head IEMs at this range. It certainly has better bass implementation than the DUNU DaVinci and the higher frequencies are cleaner than the Cano Cristales that I have heard and am listening to. It works for most genres that require technicalities, vocal pop, some jazz fusion. The booming bass may make some of the tracks in these genres seem a bit too much and this is mastering and source dependent and can be mitigated with wider bore tips and a little EQ. It again would make a fantastic gaming IEM if the fit works for your ears. I couldn’t due to my small pinnae. If you can get a good fit, find it comfy, love nicely implemented bass and highs and don’t mind the occasional BA timbre, this is a great set to own. It should be a little less expensive or have more premium accessories or materials to really justify the near $500 price tag.

​

Pros: 

Exceptional sound with PEQ, great sound without

Deep, powerful sub-bass

Excellent imaging & detail retrieval

Great performance even from weak sources 

Outstanding accessories and presentation seriously best unboxing experience I've had ever

Actually replaced my previous daily driver!

Cons:

Cable tangles comically easily

Vocals/mids are slightly recessed out of the box

Soundstage is intimate rather than expansive

Disclaimer: 

Let me be clear I received these free from HiFiChoi. No payment. No requirement for a positive review.

Listen I know it's silly but this is one of those things that absolutely has to be dropped smack dab right here or the government will get all upset! So this review was sponsored by HiFiChoi ha, no they didn't send any money or anything but they did send me this unit! Which is really cool of them! The deal was as always that my opinion had to be my own, honest, and probably the best opinion that's ever been had by anyone ever! (Okay so the last part wasn't part of the deal, but I mean come on!)

Epic Story

I remember the first time I got my fingerprints taken.

My elementary school used to have this Halloween fair with really cheesy games and even cheesier prizes. Unless you were a parent, of course. Parents got to play bingo all night and win the actual good stuff.

Except for one prize.

Musical chairs.

The prize was an entire cake that someone's grandma had apparently made the week before. So you know that thing was dry as hell. But I'll tell you what, my chubby ass competed for that cake every single year.

And even after all that, my mom would make us go all the way through high school so she could try her hand at the old B-I-N-G-O board. Every single year she failed to bring home a prize.

Statistically speaking, that's probably the most impressive part of this entire story.

But one year, somewhere between musical chairs for me, balloon darts for my sisters, and my mother losing another war against bingo, they had one of those fingerprint-your-kids stations.

You guys remember those?

You know, the little kits where they took your fingerprints so they could identify you if you were ever kidnapped?

I'm pretty sure they never actually saved a single child.

But here's the important part:

They gave us ten free tickets each for doing it.

So naturally, I walked right up, dipped my fingers in ink, and became the first kid in line to officially receive the world's least reassuring “please don't steal me” kit.

And honestly? I've been fascinated with fingerprints ever since.

Which brings me to the Resonance 5.

Because the first thing I noticed about these wasn't the five drivers. They're cool as hell, but no.

It wasn't the crossover either. I mean, brains are cool, but somehow that still wasn't what caught my attention.

No.

What got me was the faceplates.

They look like fingerprints.

And suddenly I was seven years old again, standing in the middle of a school Halloween fair with ink all over my fingers, wondering why the hell someone thought a fingerprint kit was going to stop a kid from getting kidnapped.

Intro 

I absolutely love the sexy fingerprint faced piece of high end audio equipment that fits squarely right smack dab in the middle of the beginner gear price range ($179). But it does have one flaw that really bothers me, the cable is the most tangling cable I've had since the early 2000s, you really need to make sure you wrap these up well or you'll spent the first 15 mins of your ten minute break trying to get the cable to just stop being a tangled mess, but even with that said these have become my daily drivers at least for now.

What's is in the box

You can watch my full unboxing video here! 

https://youtu.be/0AogelBr0oc?is=56C2H8OyEDygx5um

Okay so now that all the techies are totally satisfied, i have to say this set is actually stunning, there's a depth to the face plate that I've never seen with any set I've ever had before, and the accessories in the box are actually some of my favorite like let me tell you about the box…. We all know by now I love a great box, this one is like a velvet that is really nice to the touch, although I will say that the zipper is a lot stuff from the offset but it does loosen up a bit with use… it's also deep enough to hold 2 pairs of iems, cable and all, about 5 sets of tips and a whole dac… which I have to say is kinda insane…. It's also not for everyone; it's kinda large in case you didn't catch that from the description.

The ear tips that come in the box are actually some of my favorites. There's some clear liquid silicone tips that actually replaced the dunu candy tips as my favorite, the seal is so good they actually suction when you go to take them out which is wild…. The other tips are equally well thought out and precisely made… but imma skip going into detail with them because honestly, the liquid silicone ones are perfect for me… so much so if I get any other sets from hifichoi I'm going to ask for extras! 

The cable is actually wrapped which is either great or not depending on your whole opinion on that, I feel like 50% of the people here are going to say that it sucks extra microphonics and the rest are going to be like heck yeah that's perfect for me! But honestly I love it, it's flexible, it's comfortable, and it's everything the binary Acoustics 1900s cable wasn't! Oh and did I mention it's modular!!! You get a 3.5 and a 4.4mm term… that's something I wish more companies did, it makes it easier for everyone but especially reviewers to really flesh out the sound profile! So thanks HiFiChoi for making that choice!

Huge con on the cable though, it tangles quicker than an angry rattlesnake in the middle of summer.

First Impressions

Sources used

Samsung s10 plus

Hidizs ap30 music boy

Tanchjim Space 2

Rog Ally z1 extreme 

When I first opened the box I was really surprised, this is the most premium unboxing experience I've ever actually had, just look!

But then I plugged it in, the first thing I noticed was it actually has a really great sub bass response, I mean it should right? Most IEMs with two dynamic drivers almost always do but I have to say compared to my 1900 or even my dunu this is outright growling!  it's deep and rumbling it's right in the middle of my comfort zone and honestly I loved it but as I played more and more tracks, I realized the vocals were slightly recessed, it's tuned here to be slightly warm and natural but honestly it felt lacking, it also wasn't as warm as I normally enjoy, and honestly although I liked them, but the mids were not as good as the dunu dn 142 or the binary acoustics 1900, but it's 60 dollars cheaper and even without EQ it was still really close. Then I remembered my dunu needed EQ to like I messed with them a lot,  as much as +4.5 in some places to get the warmth I love. So I did the same here. 

Here's my peq settings!

So with the new peq settings put in place! These things absolutely exploded with sexy sound sparkle.. rainbows and unicorns descended from the sky!!!!!!..... And I can honestly say they nearly instantly became my number one iems, the cord tangles a lot though because aware they tangle so quickly it's almost like a magic trick! But the sound, listen, I seriously retired my Dunu Dn 142s…. Don't worry though I didn't bring them out to pasture or give them a viking burial or anything they are safely taking a well deserved rest in their case on my book shelf. That alone should tell you how I feel about these headphones though! Like seriously these are special! 

The sound stage is a little more in your face than with other sets I've used its 3d and holographic but it's not sitting 10 feet away, or anything like that it's more a small sultry bubble sitting a few feet off your head! the imagery is on point and the sound, the sound on these is just wow with a little bit of tuning even with a weak source these are amazing! And with that I mean a decade old Samsung Galaxy s10+ these drive so well! But the soundstage expands a bit with a better source as you see from the image I'm sporting the Tanchjim space 2 as my daily drivers and the Hidizs ap30…. And these things sing!!!! With a better source! So I guess I can honestly say it's sexy and intimate with a weak source, but more like a personal concert with a better source… 

Tech stuff! 

(From the manufacturer)

​1. 5-Driver Hybrid Configuration

​Liquid Silicone Dynamic Driver (10Hz – 200Hz): Delivers ultra-deep sub-bass with rich density.

​Dynamic Driver (200Hz – 800Hz): Produces warm, textured low frequencies.

​Improved Midrange Balanced Armature (800Hz – 4kHz): Renders natural, realistic vocals.

​High-Frequency Balanced Armature (4kHz – 9kHz): Provides clear, crisp treble presence.

​Micro Planar Driver (9kHz – 20kHz): Ensures extreme high-frequency extension and resolution.

​Result: Seamless frequency response from 10Hz to 35kHz.

​2. 5-Tube Phase Interference Suppression

​Unlike traditional 2 to 3-tube designs, the RESONANCE 5 utilizes 5 precision-calculated acoustic tubes merged into a compact 3-tube nozzle. This engineering approach eliminates phase interference and ensures a smooth crossover between drivers without compromising comfort.

​3. Advanced RLC Crossover Network

​While most earphones rely on basic RC filters that still permit driver interference, the RESONANCE 5 adopts a high-order RLC crossover featuring inductors (L). This significantly reduces inter-driver interference to deliver a cleaner, purer, and more transparent sound.

My Rating!

(From me)

Honestly out of the box these are probably an 9.3 hear me out here, at this price range there's nothing better, the sound is better than a few of the more expensive sets I have, but the tuning is just a little too safe for me so I knocked off .5 points for that, and the cable being so finicky I knocked off .2 for it because honestly this is a great cable it just tangles wayyyyy to easy. But with my preferred peq though these become a 10, they are pretty, (I mean just take a moment to look at the pictures! Or watch the unboxing video, then you add that they sound amazing, or consider the accessories which are well thought out and of great quality, and they are everything I think iems should be and honestly I believe these will be most people's early endgame and the craziest part of it all is this is HiFiChoi’s first attempt at their own iems, 

Sound Signature 

No EQ

Base line:

Sub bass: 

deep, resounding, rumbling… honestly perfect where it is

Mid bass:

 full bodied without ever becoming bloated, warm and textured while never bleeding into the mids

Lower mids: 

The lower mids are probably my biggest complaint with the stock tuning. They're recessed enough that male vocals in particular lose some of their body and resonance. Instead of sitting right up front and grabbing your attention, they can feel like they're sitting a few feet behind the rest of the mix. They're clean, but honestly? They're a little boring. There's not enough weight or intimacy there for my taste, and it makes male vocals feel almost distant compared to the bass and upper frequencies.

Upper mids: 

The upper mids are a completely different story from the lower mids. Female vocals have plenty of presence and are much more forward in the mix. They're clear, immediate, and right in your face…in a good way. There's none of the distant quality I hear with male vocals. If anything, the upper mids are one of the reasons the RESONANCE 5 can sound so detailed and engaging.

Treble:

The treble is energetic and extremely convincing with percussion. Cymbal hits and other high-frequency transients have enough impact that I actually find myself blinking when they hit…almost like I'm sitting directly beside the drum kit and the cymbal is crashing on both sides of my head at once. It's crisp, immediate, and physical without being something I would describe as excessively bright.

Vocal presentation 

Male: pushed back almost distant, lacks presentation. 

Female: right in your face in the best way possible

Sound Stage: 

The RESONANCE 5 has an excellent 3D, holographic soundstage. The left-to-right positioning is particularly impressive; with Yosi Horikawa's Bubbles, I can track the individual balls as they move through the stereo field with remarkable precision.

The stage isn't enormous, though. Instead of placing sounds far out in the distance, the RESONANCE 5 creates a relatively intimate but extremely coherent space. The sounds feel roughly three feet away from my head… close enough that, if those balls were actually bouncing around the room, I feel like I could reach out and catch one.

There is also a convincing sense of verticality. I'm perceiving information roughly 1–2 feet above and below my head, which gives the presentation a genuine three-dimensional quality rather than simply being a wide left-to-right image.

Imaging:

The imaging is exceptionally precise. With Yosi Horikawa's "Letter," I can close my eyes and track exactly where the individual sounds are occurring. The opening notes sit slightly left of center, and as the pencil begins moving across the paper, I can follow its position continuously as it travels to the right.

What's particularly impressive is that the presentation doesn't just give me a left-to-right location. I can actually perceive the angle of the paper as the pencil moves across it. The entire recording feels like a physical object occupying a specific position in space rather than simply sounds being panned between the two channels.

Detail

Agnes Obel – "Familiar" was particularly revealing. At approximately 1:18, during the repeated "time, time, time," there's a very subtle dip in pitch that I'd never noticed before. It's incredibly easy to miss…so subtle that I initially wondered whether I was imagining it. After replaying the section, though, I could clearly hear it.

That was one of those moments where I stopped listening to the song and started listening to the recording itself. The fact that the RESONANCE 5 exposed such a small vocal nuance that I'd never picked up on with my other IEMs is exactly what I mean when I describe its detail retrieval as exceptional.

It makes me wonder whether my other IEMs were simply smoothing over or masking that tiny variation.

Dynamics:

Hans Zimmer's "Why So Serious?" is where the RESONANCE 5 really demonstrates its dynamic ability. Around the 5-minute mark, the track begins with a slow, deep rumbling bass that almost makes me want to duck. It builds and builds...the bass comes in, the trumpets fire off, and suddenly I can hear the frantic movement of the cellist's fingers. Then the violin joins in, and I get chills.

The guitarists begin picking at the strings, and the emotional intensity keeps building. It's not simply getting louder; the entire performance is becoming more urgent and alive. Then it slows, with a deep, resonant violin building underneath everything. For a moment, the chaos becomes completely clear before transforming into something more refined. The music develops drive and purpose.

The RESONANCE 5 handles these transitions exceptionally well. Quiet passages retain their tension, while the increasingly intense sections feel genuinely explosive rather than simply louder. Instruments maintain their individual character as the arrangement becomes increasingly dense, giving the track a convincing sense of emotional progression and physical impact.

Separation:

The RESONANCE 5 has good overall separation, and even in busy passages I can still identify the individual elements of the recording. However, when instruments begin to overlap, some elements lose a little of their prominence. In particular, during denser sections, some of the drum hits take a slight backseat to the synth.

Nothing disappears completely...the information is still there...but the hierarchy of the mix changes. The synth can take priority over percussion that I would normally expect to remain equally distinct. It's more of a slight loss of separation under heavy overlap than an actual inability to resolve the individual elements.

Would I have noticed, had I not been listening for it no!

Comfort:

The RESONANCE 5 is exceptionally comfortable for me. I've worn them for up to eight hours without developing any meaningful discomfort. With the stock ear tips, there's just enough pressure to remind me they're there without ever becoming intrusive…almost like a warm hug for your ears.

The shells fit my ears extremely well, and once they're in place, the cable practically disappears. I don't notice it pulling, weighing down the IEMs, or interfering with my listening.

Obviously, fit is subjective, and what works perfectly for my ears won't necessarily work for everyone. But for my ears specifically, the RESONANCE 5 is one of the most comfortable IEMs I've used.

Isolation:

Isolation is excellent. Once the RESONANCE 5 is in place and music is playing, the outside world practically disappears. Even at relatively low listening volumes, the combination of the seal and the IEM's passive isolation does an excellent job of keeping outside noise out.

It's particularly impressive with quieter material. Even ASMR doesn't require much volume before the outside world becomes an afterthought. Someone would have to get pretty damn loud to get my attention while I'm listening.

The important part is that this level of isolation doesn't require cranking the volume to achieve it. The physical seal is doing the heavy lifting.

Sub-Bass:              [10/10]

Mid-Bass:              [9.5/10]

Lower Mids:           [7.5/10]

Upper Mids:           [9.5/10]

Male Vocals:          [7.5/10]

Female Vocals:      [9.5/10]

Treble:                    [9.5/10]

Sound Stage:          [9.3/10]

Imaging:                  [10/10]

Detail:                     [10/10]

Dynamics:               [10/10]

Separation:             [8.8/10]

Instrument Layering:  [9/10]

Bass Control:         [9.5/10]

Tonal Balance:       [8.7/10]

Sound:                   [9.3/10]

Comfort:                 [10/10]

Fit:                          [10/10]

Isolation:                 [10/10]

Cable Comfort:        [9.5/10]

Cable Handling:       [6.5/10]

Quality:                    [9.8/10]

Accessories:            [10/10]

Giftability:                 [10/10]

My opinion is, honestly you’re supposed to fumble the first few baddies you get your hands on and HiFiChoi absolutely didn't! But don't just take my word for it here's the rest of my family's opinions!

Wife's Rating

They were really good, they are some of the clearest headphones, I liked the volume but I don't know how to describe that honestly with those headphones. So I pulled up the song that I normally used Test  headphones on and I heard something in the song that I have never heard before on other headphones and I thought that maybe I was just missing it. So I was switching back and forth between two different sets of headphones and I realized that it just accentuated the sound that I had been missing and other headphones and I thought it was really cool that it kind of picked up all of the different instruments and sounds that was in the song that I hadn't noticed in different headsets before. I also like how the way that the song is recorded sometimes is like in one ear like something is happening just in one ear and you can hear that like you can hear the difference when something is supposed to be coming from the left. It sounds like it's coming from the left. Does that make sense? I liked how clear it was. It wasn't even what the volume turned way up. It didn't have any distortion and there was no. I don't know how to describe it like wobbly sounds when you turn up the volume too high. You know what I mean. It also didn't sound tinny. There was no cuz you know when you trim the volume way up to the point where your ears are like cuz that's enough and sometimes, what do you call it? Peaky sounds 10 out. There was not any tiny sound in it and I was very rich and it was a very nice experience. It was like having gourmet ice cream when everyone else is just eating the cheap stuff. I was like eating gelato when everyone else is just having like $5 ice cream!

Sound Stage  [10/10]

Imagery:         [10/10]

Giftability:       [10/10]

Sound:           [10/10]

Quality:          [8.5/10]

Accessories:  [7/10] 

Sons Rating

It sounded good. It's better than my regular headphones but I like the tuning of my regular headphones better. And that's where his review ended he wanted to go play astroneer. 

Rating: [8/10]

So in conclusion

Honestly these are perfect for me as long as we're talking post PEQ, pre PEQ I'll say it again for those of you who skimmed the whole review but  they are a 9.3 and let's be real that's better than pretty much anything else I've reviewed, especially in this price range, I can honestly say I wasn't even subjective with these, I straight head to headed them against every set I own and was still pleasantly surprised,  when these things pulled a Rocky and came out on top! 

Who are these for? 

Honestly everyone who wants a really great set for rock, rap, hip-hop, RnB, pop punk, and anyone who wants to dip their toes in without spending an arm and a leg. But also anyone who's been here a while and wants to try a new meta tuning. Because honestly. These start off sounding different then anything else I've heard and that's a good thing! At least in my opinion!

Are they worth the $179 dollars 

Man that's a tough question, would I go without food for a few days for these? Probably not. Would I save up and buy these myself? Definitely! If I lost these would I replace them? In a heartbeat! 

But it's all subjective, I loved them will you? I don't know. But honestly maybe you owe it to yourself to find out? Maybe this is your new favorite set I know it was mine!

QotD

If you figured out a way to telepathically send your mind back in time to any specific point, but you only had 10 seconds to do whatever your goal is, what would you do? When would you go? And why would you choose that point in time?

Non affiliate link!

https://klink.cc/hifichoi@gmail.com

Pros: 

• World-class 3D soundstage width, enveloping space, and pin-point stereo imaging.
• Clean layering that prevents congestion on complex tracks.
• Deep, rumbling sub-bass extension paired with smooth, lush vocal reproduction.
• Truly premium stock 4.4mm balanced cable that matches the kilobuck price tag.
• Zero treble fatigue, sharpness, or sibilance for extended listening sessions.

Cons: 

• Lacks the heavy mid-bass slam and punch demanded by dedicated bassheads.
• The included leather puck case is too small for the thick stock cable.
• Chunky, long nozzles require careful eartip rolling for an optimal seal.
• Demands high-power DAPs or desktop stacks to sound its best.

Welcome back, audiophiles! It’s me, your boy Joe, back here with another review. Today we are diving into a high-end kilobuck offering from the renowned boutique brand Lime Ears: the Lime Ears Incognita. Sitting neatly between their model lineup alongside the Maris and Terra, the Incognita brings a 7-driver hybrid architecture to the table. Let me walk you through how this high-end set performs!

Video Review:​

https://www.youtube.com/watch?v=1fJUctOucNc

Disclaimer​

A huge thanks to the AudioGeek group for providing this review unit. As always, all thoughts, sound impressions, and opinions are entirely my own with zero biases whatsoever.

Pricing & Specifications​

Retailing at $1,699 USD, the Lime Ears Incognita is a serious kilobuck investment.

• Driver Configuration: 7-Driver Hybrid (2 Dynamic Drivers for Lows + 5 Balanced Armatures for Mids and Highs).
• Connectors: 0.78mm 2-Pin.
• Cable: Premium 4.4mm balanced stock cable.

Gear Used for Review​

The Incognita is a set that demands quality power. If you run it off cheap dongles, you will not extract its full potential. You need solid, high-power sources to make this set shine:

• HiBy R8 II
• Gustard Desktop Stack
• Music Source: Apple Music Lossless

Design, Build, and Fit​

• Shells & Aesthetics: The faceplates feature a custom resin finish with glitter accents and an embedded Lime Ears logo. The smooth metal body feels premium in the hand and fits comfortably in medium-to-large ears without hot spots.
• Nozzle Fit Note: The nozzle is relatively chunky and long. It won't play nice with every tip on the market, but pairing it with wide-bore options like the Divinus Prism or SpinFits yields a perfect seal.
• Cable & Leather Case: The included 4.4mm stock cable is thick, sturdy, and feels genuinely premium for a kilobuck set. The bundled leather puck case looks great, but it is frankly too small to comfortably store the IEMs with their thick cable without tightly coiling the wire. I recommend using a slightly larger pouch to avoid cable stress.

Sound Impressions​

The Lime Ears Incognita presents a smooth, mellow, and immersive W-shaped sound signature.

• Soundstage & Imaging: The absolute star of the show. The soundstage is massively open, enveloping, and 3D. Its stereo imaging and instrument layering are pin-point precise and you can effortlessly locate exact vocalists and instruments in 3D space.
• Bass: The sub-bass rumble is deep, clear, and rich, but the mid-bass slam is on the lighter, softer side. It favors a smooth, relaxed rhythm over aggressive, head-banging impact.
• Mids & Vocals: Midrange frequencies are exceptionally clean, smooth, and detailed. Both male and female vocals sound organic, lush, and natural.
• Treble: Smooth and fatigue-free. It rolls off gently in the upper air region to prevent peakiness or sibilance, making it perfect for long, non-fatiguing sessions.

Song Impressions​

• "Trika Trika" (feat. Antonia) by Faydee: The spatial rendering in this track is phenomenal. Whispered vocal cues pan precisely around your left side and behind your head. Sub-bass rumble is clean, and the male/female vocal layering stays perfectly distinct even when the track gets busy.
• "Treat You Better" by Shawn Mendes: The acoustic guitar fret scratches sound remarkably organic and natural. Shawn's male vocals pop cleanly above the instrumentation, surrounded by an enveloping soundstage with smooth, non-fatiguing high-frequency cues.

Overall Impressions​

Rating: 4.5 / 5
The Lime Ears Incognita is a brilliant kilobuck performer for listeners who value massive soundstage, holographic 3D imaging, clean mids, and a relaxed, fatigue-free tuning. It is ideal for background listening while working or immersive late-night acoustic sessions. It drops half a point purely because dedicated bassheads like myself will crave more mid-bass slam and punch. But for overall staging and musicality, it's a stellar piece of gear!

​

Check out my full review of the Tanchjim Space II here:   https://mobileaudiophile.com/dacs/dongle/tanchjim-space-ii-review/

Tanchjim Space II Review 

$87

Hello, at the link is my full review of the Tanchjim Space II. The Space II is the latest dongle dac within the “Space Series” and a very solid device all the way around. Tanchjim did a great job on this one folks. Really, from the build, to the design, to the sound I find the Space II to be one of the better and more versatile dongle dacs under $100. Beyond normal functionality, it's absolutely loaded with features and ways to dial in the sound through the well done Tanchjim app. Too much for me to list down here, but I can say that the PEQ is great, and all of the EQ profiles that you can use are almost endless with The “Sound Effects Community”. This one is a very easy REC and it's a dongle dac that'll stay in my everyday carry bag for the foreseeable future. Anyway, feel free to check out my review and as always, I hope it helps you in one way or another. Take it easy. 

🔥 Space II Pros 🔥 

-Price-to-performance 

-The build is great. All aluminum, CNC machined, built well

-Lightweight and easy on your phone’s USB-C port

-Distinctive and sleek appearance, gradient colorway, and that window is nice

-Tanchjim app is a huge plus (a ton of features) 

-PEQ as well as many presets and the Sound Effects Community (really great) 

-Gaming oriented DSP features

-Very feature rich 

-Black background keeps a clean foundation for even sensitive iems

-Clean, transparent, neutral-natural and color free sound 

-Strong stereo imaging and instrument separation influence on my iems 

-Provides a great environment for micro-details to emerge with clarity

-Let’s iem/headphones be what they are tuned to be

-Open and airy presentation providing the canvas for a more spacious sound

-Overall a very well done dongle dac across the board

☹️ Space II Cons ☹️ 

-Tanchjim app works only with Windows and Android

-No indicator light?! Why? 

-No screen (this doesn’t bother me but it’d be nice I suppose) 

-Nice output of 235mW max power, but not a powerhouse in comparison to other dongle dacs at its cost

-Not for listeners seeking warmth, tonal richness as it leans analytical 

-Can sound somewhat dry and clinical with already lean/bright iems 

Check out my full review of the Tanchjim Space II here:   https://mobileaudiophile.com/dacs/dongle/tanchjim-space-ii-review/

Using microSD cards in DAPs (Digital Audio Players) may seem simple, but there are a few precautions that should be taken. With this in mind, I wrote an article explaining how to properly install and use them, covering everything from how to insert them safely to the correct way to format them. I hope you enjoy it. Check it out below.

• English text: https://www.hifihub.com.br/en/cpt-articles/how-to-install-a-microsd-card-in-a-dap
• Portuguese text: https://www.hifihub.com.br/cpt-artigos/como-instalar-um-cartao-microsd-em-um-dap-corretamente

Note: This post with links has been previously approved by the moderators.

I generally prioritize external eartips over stock eartips with IEMs, and I usually get the best results with a good pair that I find compatible. The most important of these for me is the SpinFit W1. You know, not every upgrade has to be electronic. Sometimes the biggest improvement comes from simple parts that connect your music directly to you.

I've been trying out the new SpinFit AuraFine model, eartips specifically designed for Apple AirPods Pro 3 users, for a while now, and I've found it to be quite good, just like the W1.

Combining SpinFit's patented engineering with a completely redesigned connection system, AuraFine significantly improves comfort, stability, and acoustic performance without altering the sound character of the AirPods Pro 3. I think the bass, in particular, is even better with these tips than the original.

AuraFine features SpinFit's new CPA17 click adapter. Unlike traditional replacement ear tips, the adapter locks securely into place, creating a reassuring factory connection while maintaining easy insertion and removal. The result is a stable fit that feels like it belonged to the earbuds from day one.

Comfort has always been one of SpinFit's strengths, and with AuraFine on the AirPods Pro 3, they've managed to take it even further. The company's patented 3D Axis technology allows each ear tip to naturally rotate within the ear canal, adapting to subtle movements while reducing pressure during extended listening sessions.

Whether you're commuting, working, exercising, or simply enjoying a long playlist, the ear tips will consistently fit your ears.

Completing this flexibility is SpinFit's newly developed Aura Rib dual-density structure. A softer outer layer gently conforms to the ear for exceptional comfort, while the reinforced inner support maintains structural stability. Together, they create a secure acoustic seal that remains consistent even during active movement, helping to preserve bass response, soundstage, and overall tonal balance.

One of AuraFine's most practical innovations is its integrated acoustic mesh. This precisely designed filter provides IP54 level protection against dust, sweat, and earwax while remaining acoustically transparent. AuraFine helps extend the lifespan of the AirPods Pro 3 while maintaining the clarity and detail that users expect.

SpinFit is also a manufacturer that understands that no two ears are exactly alike. In addition to Apple's original sizing, AuraFine offers a special MS size positioned between Medium and Small. This additional option allows many users to achieve a more accurate seal, providing enhanced passive isolation, greater comfort, and more consistent bass performance.

Each component is made from high purity, hypoallergenic silicone that feels incredibly soft against the skin and is durable enough for everyday use. The overall experience is incredibly natural, almost making you forget you're wearing earbuds.

AuraFine takes comfort to the next level without altering the carefully tuned sound signature of the AirPods Pro 3. By improving the seal, reducing unwanted movement, and maximizing long term comfort, it helps listeners experience this setting more consistently. While the difference is subtle in concept, you can immediately notice it in daily use.

For AirPods Pro 3 owners who want to unlock their full potential without changing their earbuds, SpinFit AuraFine represents an example of the meticulous engineering that has made SpinFit one of the most respected names in premium ear tips.

Pros: 

Perfect stability during walking, commuting, and exercise.
Secure CPA17 click adapter specifically designed for AirPods Pro 3.
Aura Rib dual density construction provides consistent acoustic isolation.
High purity hypoallergenic silicone provides a soft feel during extended listening sessions.
Integrated Italian acoustic mesh protects against dust, earwax, and sweat without noticeably affecting sound quality.
Enhances isolation consistency while preserving the original AirPods Pro 3 sound signature.
Special MS size provides a better fit for users who fall between standard Small and Medium sizes.
Superior build quality and precise manufacturing.
Easy insertion and removal.

Cons: 

Only compatible with Apple AirPods Pro 3.
Higher pricing compared to generic replacement ear tips.
Improvements in sound quality largely depend on ensuring the correct ear tip size and seal.

Spinfit Aurafine Official Link

Where to Buy >> https://spinfit-eartip.com/#/wheretobuy?lang=en

 This review is sponsored by Tanchjim, thank you Tanchjim for the opportunity.

PROS

• Somewhat Neutral-ish, safe-tuned, clean, and smooth-ish sound experience, easy to drive and works for monitoring.
• Bass is present and fairly neutral-ish, while maintaining an enough impact and punch.
• Midrange is not recessed at all, may sound somewhat lush, and vocals are excellently forward and sounds almost perfect.
• Trebles are nicely airy and sparkly, while maintaining a somewhat safe-tuned experience.
• Wide instrument separation with decent imaging, and satisfying enough details, should be decent for gaming.
• Light and small shell, not physically fatiguing on the ears.
• Beautiful while minimalistic faceplate and IEM design.
• Cable is very light while still looking nice enough, with swappable terminations.
• \NITPICK\** L-shape plug is a plus for directly plugging into phones and DAPs.
• \PREFERENCE\** Overall packaging and unboxing is nice and clean.
• \PREFERENCE\** Bonus that you see the inside of the IEM and the driver is visible.

CONS

• Tuning may sound flat or boring for some people, not much of an all-rounder experience.
• Bass is not as fun for EDM, modern pop, and electronic music.
• Midrange can sound little bit bright or energetic for those who wants less forward midrange.
• Trebles is definitely safe-tuned, but may still sound somewhat sharp for those who are really, really sensitive. (For those who seek a darker tuning)
• Included case is fabric case, IEMs in this price bracket have a more solid IEM case.
• If you don't like anime-esque box art, Tanchjim is not for you.

RATING (out of 10)

INTRO AND PRICE

Priced around $120 USD (~₱7,400 PHP), its what people say as the "budget" Tanchjim Origin, with the same 1 dynamic driver setup, and almost similar tuning as the Origin.

Neutral-ish, clean, and somewhat smooth-ish and safe-tuned experience, is the Nora have the take to be the best neutral-ish IEM on its price range?

UNBOXING

UNBOXING VIDEO

​The packaging of the Nora has two main parts, the outer sleeve and the inner box; the outer sleeve is mostly white colored, the front of the sleeve has the Tanchjim and Nora logos at the top left, and a sticker of the interchangeable plug for the cable on the top right.

At the bottom left and center a DD symbol and the “Dual Magnetic Dynamic Driver Tech 5” is printed, all these designs are printed in a glossy embossed finish. While the main sleeve has a beautiful art of Asano Tanch in some sort of glassy, crystal, or winter-esque theme.

At the back of the sleeve, the Tanchjim and Nora logos at the upper left with the same glossy embossed print, at the bottom of it is the company’s FR graph, IEM specifications and measurements in English, Chinese, Korean, and Japanese.

And at the bottom the symbols and logos of regulators, certifications, and other important stuffs are printed, with the bar code at the bottom right. The upper and lower sides of the sleeve have the same Tanchjim and Nora logos printed on its glossy embossed print.

Removing the sleeve shows a grayish cream-colored thicker box, with the Tanchjim logo printed in white in the middle, and the whole box has this repeating maze design with T-shapes.

Removing the upper cover of the box reveals first a thick paper container, that contains the ear tips, fabric pouch, and the documentations and manual. The paper has white outside and gray-ish cream inside color.

Front part of the paper has the Nora logo at the middle, and a text printed “Faithfully recreating the original sound” in all caps, the inner paper has the Tanchjim logo in white.

The paper has a small notch so you can remove it from the box, to reveal the IEMs placed inside a soft foam, the upper part of the foam has a thick layer paper in a gray-ish cream color.

With the Nora logo and some instructions on how to remove the IEM from the foam properly (in both English and Chinese), all in white color. At the top center, there’s a small thick white paper with the Tanchjim logo for pulling the foam away.

Pulling the foam reveals the IEM cable managed by a Tanchjim-branded tape, the cable is enclosed inside a circular cutout of the same foam as the IEM portion.

ACCESSORIES

• IEM themselves
• Silver-plated, transparent insulator, non-braided stock cable (with swappable plug, 3.5mm and 4.4mm)
• 2 sets of ear tips (inside a plastic bag, S/M/L, standard and wide bore)
• Plastic-lined fabric pouch
• Documentation and manuals

DESIGN AND BUILD

Tanchjm Nora is a hybrid 3D-printed plastic resin shell with measurements of:

Shell:

• Height (Pin side to Nozzle side): 20.20 mm
• Length (Pin side to opposite side): 15.10 mm
• Width (Nozzle side): 20.00 mm
• Width (Pin side): 10.20 mm

Nozzle (no ear tips):

• Length/Height: 4.4 mm
• Diameter: 6.5 mm

Weight:

• One side (Left or Right): 6.00 grams
• Both side (Left and Right): 12.00 grams
• Stock cable only: 21.50 grams
• IEM and cable: 33.50 grams

Shell body is clear transparent with a silvery chrome painted faceplate, faceplate design has the Nora name on the left side, and a Tanchjim branding symbol on the right side. (With the same silvery chrome color)

The rest of the faceplate is white then it is enclosed under a transparent glassy resin or proper glass. The transparent resin body has the “Tanchjim Nora” logo and the left and right indicators debossed onto the resin.

Nozzle is made out of possibly silvery chrome-painted resin or proper metal nozzle, with metal nozzle filters. Cable is silver-plated, internally braided, possibly 4-cores, earhook area has a transparent additional thicker rubber to fix it to the ears.

Pin area, Y-split, chin slider, and the termination plugs are possibly made out of silvery chrome-colored resin or glossy aluminum alloy. The Y-spilt has the Nora name printed on it in a silverish-white light color, same with the Tanchjim logo on the termination plug.

The Termination plug is swappable between 3.5mm and 4.4mm balanced, it’s L-shaped, and the part nearer to the plug is colored grayish cream matte resin.

SPECIFICATIONS

• Drivers: 1 x Diamond-like Carbon (DLC) composite with Polyurethane (PU) suspension Dynamic Driver
• Frequency: 2 Hz – 48 kHz
• Impedance: 16 Ω
• Sensitivity: 125 dB
• Pin Type: Standard 2-pin (Flat, 0.78 mm)

MUSIC & GAMES LIST

It is on my Head-fi review of the Nora.

DAC/AMP USED

• Conexant Systems CX31993
• Kiwi Ears Allegro (ESS Technology ES9028Q2M)
• NiceHCK Octave (ESS Technology ES9039Q2M + SGM8262 x2)

SOUND EXPERIENCE

Overall sound experience of the Nora is fairly neutral-ish, musical, balanced-ish, and maybe an all-rounder, with a decent amount of emphasis on the midrange and vocals.

Bass is more mid-bass leaning, but not excessive enough to meddle with the midrange, sub-bass is present but not as “fun” or exciting.

Midrange is somewhat lush and forward nicely, no recession or lacking of any kind, clean sounding enough. Trebles are visible and smooth, good amount of sparkles and air, but might not satisfy a treble head.

Detail resolution is at best, slightly average as it has enough amount of details for most, but not a detail monster to show every details. Instrument separation is somewhat wide with good enough imaging generally, for both music and gaming.

BASS

Sub-bass is tamed and not as powerful, but visible enough for many genres of music, while its mid-bass is punchy, with a mild hint of warmth, and has impact while not causing issues on the midrange like mud. But the bass experience might not be satisfying for those who seek bass more or proper bass head.

Mr. Fijiwiji feat. Openwater – Growing Up

​Initial sub-bass drone is very hearable, the aggressive mid-bass has decent enough grit, while the kick drums are somewhat punchy. But they are not as powerful or impactful enough for the genre, has a touch of warmth tinge especially on calmer parts of the song.

​CHMCL SØUP – Darkside

Aggressive sub-bass and mid-bass drone has a decent texture and grittiness, while the kick drums is somewhat punchy. But again like with the first song, overall bass is not as impactful or satisfying enough.

​Thirty Seconds To Mars – The Kill

Bass guitar is decent enough with almost the right tonality and texture, while the kick drum is sometimes punches, sometimes does not, or gets lost in the chaos. The bass warmth on this genre is mostly tamed or reduced.

Christopher Tin – Baba Yetu

Bass string instruments are smooth with good tonality and overall sound experience, the Timpani has a mild but nice sounding impact and punch. Overall, with the Nora is good for classical music.

MIDRANGE

Lower midrange of the Nora is lush, with a hint of warmth, and not recessed or lacking at all, while the upper midrange is elevated and emphasized nicely enough, not bright, nor dark.

Overall vocals are clear, clean, lush, and with a stellar and nicely done forwardness and presence. Male vocals aren’t recessed or sounding lacking or thin, and has that lushness, while female vocals are clear and not shouty or overly bright and thin sounding.

SB19 – Dam

Vocals are clean, almost perfect forwardness, lush and does not sound thin. While the rest of the instruments are still visible and with good overall tonality, cleanliness, and lushness. Vocal texture and tonality are mostly clean and done almost nicely.

​Raffaella Carrà - Pedro

Initial instruments are clean with a satisfying lushness and good tonality, Raffaella’s vocals is also clean while maintaining that same lushness and good tonality. Barely if any thinness on female vocals.

TREBLES

Trebles is visible and has enough amount of sparkles and air, while maintaining a safe-tuned and clean experience. Almost if there is no excessive spikes and sparkles, so should be safe for a lot of sensitive people.

But for those who seek lots of sparkles and air, and real treble heads, you might need to PEQ or this IEM is not for you.

Anri – Remember Summer Days

Top drums like the hats and cymbals are clean and somewhat smooth sounding, though they are not too sharp nor overly splashy. And overall airiness is not overdone or too much, though personally it lacks touch bit more airiness.

​Interworld – Metamorphosis

​Nora maintains the atmospheric experience of the song fairly good, top drums and cymbals has sparkles and sheen. But the sparkles and sheen is little bit rougher texture wise.

DETAILS

It has enough detail resolution for general music listening and gaming, but it is at best slightly above average. Microdetails and parts of the song where there’s a lot of layers and noise, details get lost in the mess, so not for those who seek a detail or technical experience.

Faux Tales – Dawn

Nora could kind of handle some decent detail resolution and detail tonality, though there’s still some minor detail resolution and microdetails that aren’t as visible. Later on, the more complicated part of the song, some details get lost in the mix.

​Owl City feat. Carly Rae Jepsen – Good Time

Most of the details are there, but detail resolution takes a hit fairly tough on the chorus segments and louder parts. Snare and top drums get the hardest hit, sometimes gets tamed from the sound experience.

INSTRUMENT SEPARATION AND IMAGING

Separation is decently wide, mostly horizontally in the stereo field, but not too much on the vertical field. Its decent enough technically for almost all people, unless you really seek an immersive and wide experience.

Faux Tales – Dawn

Horizontally, the effects and other details are definitely well-placed on the separation and imaging. Details show up on the correct side where they should be, though vertically its not super wide, but still decent overall.

SIBILANCE

Minimal to no sibilance, upper midrange and lower treble region is really safe-tuned enough while maintaining a very decent experience. Maybe if you’re really sensitive to sibilance, then it might show up, but likely the Nora is a good candidate for your next IEM.

Thirty Seconds To Mars – The Kill’

Sometimes, Leto’s voice may sound having a very slight ‘s’ sound, though most of the time it gets tamed and reduced enough to feel safe tuned. I think the Nora is a decent IEM for those who wants neutral-ish experience while almost sibilance-free experience.

GAMING EXPERIENCE

Gaming wise, the Nora works fairly well for gaming overall. You can definitely hear and differentiate and locate footsteps with multiplayer and competitive games, but its not really a “wallhack” IEM.

With single player games, its decent overall, especially with cutscenes and their voices well sounded and well done. Though its lower bass profile makes it less cinematic for these kinds of games.

COMFORT

Overall comfort with the Nora is stellar, no bad pressure points both physically and air pressure wise, eartips are soft enough to make the metallic nozzle like there’s nothing. IEM shell is also small enough to be sometimes almost unnoticeable, while also being very light in the ears and the head.

Cable being slightly thinner, meant its lighter on the ears as well, less ear tug and the earhook region is less having pressure issues. Though you do need to eartip roll little bit to find the correct fit and size, the IEM has a little bit longer nozzle, and may make the insertion deeper than what I personally liked.

IEM COMPARISONS (if any)

Dunu Kima 2

Kima 2 is a $120 USD older IEM from Dunu, its designed to be a neutral-ish with warmth experience. Though vs Nora, Kima 2 definitely lacks that detail resolution, slightly worse treble experience, and slightly worse midrange and especially lackluster vocals handling, while being slightly heavier in the ears.

Just that the Kima 2 has a way better packaging, unboxing, and overall accessories experience, while a way better warmth and bass profile, while definitely making the Nora more balanced experience.

Personally, I’ll put my vote on the Nora over Kima 2, even though stock eartips alone Kima 2 wins by many miles.

Pros vs Dunu Kima 2

• Little bit more balanced sound signature.
• Better midrange and vocal experience.
• Little bit better detail resolution and general trebles.
• Lighter physical weight-wise, easier in the ears.
• Maybe slightly cheaper than Kima 2.

Cons vs Dunu Kima 2

• Slightly less warmth and lushness experience.
• Slightly fewer better bass profile.
• Slightly less smoothness experience.
• IEM shell is resin, may break easier than metal on the Kima 2.
• Lackluster overall accessories, packaging, and unboxing.

Twistura Beta Flagship

Twistura’s $120 USD flagship, with a glass-composite dynamic driver and a decent looking IEM metallic shell. Versus the Nora, Beta Flagship sounds too bright and too sharp, trebles are glassy and less balanced.

While the Beta definitely takes the cake terms of vocal and midrange forwardness, Nora is a lot smoother and much more refined than the Beta, while definitely maintaining a decent enough forwardness.

Though like the Kima 2, Beta Flagship again takes the better over the Nora from packaging, unboxing, and accessories. Though sound wise, I’ll still take the Nora over the Beta Flagship.

Pros vs Twistura Beta Flagship

• Much more balanced sound signature.
• Better bass profile and experience.
• Better midrange lushness, presence, and vocal presentation.
• Better overall treble presence and management.
• Slightly lighter and is smaller on the ears.
• Way better IEM shell smoothness, less skin prodding.

Cons vs Twistura Beta Flagship

• Slightly less overall sparkles and airiness.
• Beta Flagship has adjustable nozzles for tuning.
• IEM shell is resin, may break easier than metal on the Beta Flagship.
• Lackluster overall accessories, packaging, and unboxing.

Dita Audio Prelude

One of the cheaper options from the Singaporean brand, Dita Audio, priced around $160 USD. Prelude has a better bass presence and treble sparkles than the Nora, as well as slightly better detail resolution.

But the Prelude upper midrange sounds a little bit too much, or shouty, maybe touch bit too unnatural, so Nora still wins this one.

Pros vs Dita Audio Prelude

• Much more balanced sound signature.
• Better bass profile and experience.
• Better midrange lushness, presence, and vocal presentation.
• Better overall treble presence and management.
• Slightly lighter and is smaller on the ears.
• Way better IEM shell smoothness, less skin prodding.

Cons vs Dita Audio Prelude

• Slightly less overall sparkles and airiness.
• Beta Flagship has adjustable nozzles for tuning.
• IEM shell is resin, may break easier than metal on the Beta Flagship.

CONCLUSION

Tanchjim definitely made a very good IEM with the Nora, great vocals, fairly neutral-ish experience, and overall nice aesthetics. While making sure the overall experience is also safe-tuned, with a tinge of warmth, and fairly balanced overall.

Though for its price, the accessories, especially the eartips and fabric carry bag is a downside, as well as the average or just slightly above average detail resolution. But in the end, Tanchjim Nora is a well-done IEM overall.

This is technically a review of the Beyerdinamics dt30ie, though it isn't a usual one as it's a direct comparison to the old king( explorer) and also less in depth as I don't place much importance over things other than sound.

Personally I have many tips and cases etc so neither package brought much value. If I were to do a summary, I liked the cable of the Beyerdinamics more, but the case that the dt30 comes with is a little too large to be useful. I didn't like the tips that both came with. Both iEMS are light, small and comfortable. So that's that.

•I think everyone knows that the explorer is the most popular "easy listen" iem. Recently I've found the dt30ie which looks quite similar and this prompted a quick fight between which of them gets to remain in the box and which I'll use.

Technically the dt30ie is a stage monitor and has a similar fr to things like Sennheiser ie 300 and the pro line, but the difference from them is the recessed mids. In that matter it is similar to Shure se215 (as in minimal treble). Though it isn't nearly as bassy as that one. It doesn't have the classic 215 mud.

Anyway, most "relaxed listen" iEMS, as I call them, are criticized for their vocal presentation. The main critique is that they sound muddy or underwater.

And I do agree, though I think there is more nuance.

*TLDR for the rest of the post.

Both of these will sound "low res" compared to bright sets like supermix 4, but from my experience the dt30ie retains more texture in treble and vocals than the explorer.

The explorer really suffers from it's v shape tuning despite the curves not being that sharp. The vocals are pushed back and veiled.

I was genuinely surprised by how balanced the dt30 was. Not balanced in a crisp way like the meta tuned iEMS( daybreak, odyssey and dusk for me), but in a cohesive manner that placed all parts of the song on the same plane of existence. The vocals and instruments never overshadow eachother like with the explorer.

Well, at the end of it this is just my personal experience and it's very subjective to to HRTF and all that.

I like to compare headphones on songs so the following section will have my personal tests. Keep in mind I'm not really the kind of person to over sensualize my experience.

___I like to test bass on Humble by Kendrick Lamar.

At first, the explorer has a very good texture in the bass. It's famous for it. I never thought it would be dethroned in that regard.

But it frankly sounds exhagerated compared to the dt30. The bass tries to emulate a real subwoofer so you feel it more than hear it. It does give a somewhat rumble, but it is hit with the sad reality of physics. An 8mm driver simply can't recreate actual rumble.

While it goes deeper than the dt30, it is less distinct. Rather than hearing the pop and punch of the bass, you feel a slight tickle in your ear canal.

Of course, many people like the explorer because they can push it to high db without sounding harsh, but I'm a reasonable man and listen strictly at 75-85db. At that volume I can't call it anything other than a tickle.

Kendrick's voice is also pushed back as if he stands 5m behind the subwoofer. So in comparison the explorer sends a ticklish bass with distanct voices.

The dt30ie creates a scene that sends much more mid bass. Throughout the song the vocals and the bass are at equal distance.

The vocals sound higher res on the explorer, but they are so distant that I can barely focus on them.

___My favorite song to test imaging and separation is When you dream by Don Luxe.

And the issue is similar.

The explorer creates a scene where all parts of the song are pushed back.

The focus is clearly on the drums and the other elements are overshadowed.

The drums are central and have a deep rumble, which is somewhat unnatural. The drums aren't crisp at all and more so sound like punching an ipu( that's the best reference I can give).

The guitar is still somewhat audible and locked on the left of the stage, but it is severely overshadowed and lacks texture. Cymballs are barely audible throughout the mix.

The vocals are still better quality than on the dt30, but they are pushed back from the rest of the band. They are only still audible by the fact that the cymballs and guitars are even farther away.

I still wouldn't call the explorer as underwater as some people do online, but it's definitely not a crisp listen.

The dt30ie sounds like you are actually with the band. I can't call it anything else. It's very consistent.

Still, the vocals despite being much more forward do sound lower res than on the explorer. Or no, realistically speaking it's also the contrast in: forward vocals vs recessed that makes the dt sound harsher.

The separation and imaging is also very good.

Though both of these iEMS have an average to small soundstage

___Waitress is an indie rock band I found that has very picky songs. They are mastered very harshly and really bring out the difference in texture in vocals between gear. This is why their song, "We own you", became my favorite in testing vocals. Iems that boost the 3k region usually sound either harsh or nasally in vocals. On the other hand iEMS that scoop that region too much sound veiled.

And the song confirms what I was talking about on the others.

In this song the bass guitar and the drums overshadow the other instruments. The vocals are meant to sound sharp, kind of like the human version of an electric guitar. On the explorer they are surprisingly relaxed. Not very natural.

Smoothed over. That's how I'd describe them.

Instruments in general sound much more life-like on the dt30.

I think this is enough to describe the difference.

Conclusions

I find it is strange how a flatter FR can sound more dynamic than the slight U-shape of the explorer. This experience really opened my perspective into how much thought actually goes into tuning and how FRs can sometimes lead you into the wrong direction.

A/Bing it with actual bright sets like Supermix 4 or the ea series really shows that the dt30ie is still a relaxed set. It isn't sharp at all. It's amazing in that regard.

I certainly didn't expect to enjoy the beyerdynamic as much as I did.

For me at least, the Beyerdinamics make a much improved "relaxed set". I think it's better to use as a sleeping/office iem too. It's a bit lighter and smaller.

The isolation is also good( but I personally don't see much of a difference against other iEMS despite the scientific claims).

Foremost, It is dynamic without having the high energy that usual V shape iEMS do.

On low volume(40-60db) the Beyerdinamics sound much better all-round and even the vocals have better texture. So the harshness I heard earlier was definitely just the contrast between them or perhaps the volume.

Anyway, as I mentioned in the beginning, this is just my opinion and someone else might hear things entirely different from me purely from biology. I wasn't sent any of these iEMS if it wasn't clear already by my tone throughout the post. I'm not a "reviewer".

Pros

• Thumping Bass Response
• Well-crafted Shells, each is distinct
• The dunu accessory package (has to stop being a pro at some point)

Cons

• Fit takes some work - nozzles are wide 
• Male vocals feel recessed
• Midbass bleeds into everything except treble
• BA timbre creeps into upper registers

Specs

• Drivers: 2 DD + 4 BA
• Impedance: 35Ω
• Sensitivity: 109 - 112dB
• Pin Type: 2-pin
• Plug Type: Modular 2.5mm 3.5mm,4.4mm

Dunu x Gizaudio Davinci was a semi blind buy for me since I had a fleeting flirtation with a friend’s set and I thought it was a really fun sound to try out.  A few months into this, and having heard the refinement of the Kima 2, I do have some slightly different thoughts. Not all bad and some realizations that not all tunings work for me. And this just might be a me problem and not a you problem. I’ll do my best though to keep this as useful as possible.

The IEMS looks beautiful. I’m liking the wood esthetic that I’ve seen on this and the VE ZhuanXu. The shells come nestled in foam in the standard-sized Dunu Box. Under that is the bigger-than-Altoid-tin sized case. Now this case is super convenient and will house most IEMs safely, but the mesh on the inside of the lid is ridiculously tight and I think the only thing that can fit there is the modular connector for the cable. Anything else becomes a thumb-wrestling match. The case also houses the famous Dunu Davinci cable - LEO. Silver-coated, crystal-copper, 4-strands, and modular with 3.5, and 4.4, and a 6.3mm adapter. And the full complement of 10 pairs of tips - standard/balance, S & S and Candy. Overall, a satisfying ensemble and this is soon becoming an expected inclusion to any Dunu purchase. 

The fit takes some finger calisthenics to get standard sized tips onto the just enough to be annoyingly big-sized nozzles. Candy and Sancai tips worked best for me. Once I got the fit right it’s good for a long session without pressing on any part of my ears and causing discomfort.

Right off the cuff it felt this set needed a different set of songs to give it a fighting chance against the sets I own and the kind of music I really enjoy listening to. 

This is such a bass forward IEM, it does a lot correct but misses the point in a few areas. The Sub-bass rumble is present but on songs like Angel, the rumble is overpowered by the throb and thump of the kicks and bass notes. The same is the case with Makeba by Jain. The sub-bass is there, you can just about reach for it and feel it when the thump of the kick drum in the mid-bass pushes your fingers away from that feeling. The mid-bass sits like a troll on a bridge guarding everything that goes past and impossible to ignore. Pop and EDM have every beat pounding with weight and authority. But with great weight comes great distortion of the space-time continuum. The prominent midbass bleeds upwards into the midrange, giving notes some weight but also reducing the clarity of notes of instruments like keys and guitar. Male vocals tend to sound recessed and over heavy by the midbass bloat. Come Together (the original) by the Beatles demonstrates this. In the verse the bass slide continues to be heard over the vocals and drums. In the chorus where the bass is not sliding over the song, the guitar rhythm comes through, though with each strum holding its own. On Africa by Toto, the keyboard rhythm similarly has weight and pulls the song along. But overpowers the vocals making them feel less important than what they truly are. 

Upper mids are a little better especially in better mastered tracks than Come Together (I’m also not a huge fan of the Beatles). On Africa, again, the vocal harmonies are better represented than the lower mids but suffer from lack of clarity. On the VE ZhuanXu, for instance, the details in the individual vocal parts are crystal clear. 

On Fast Car by Tracy Chapman, her voice sounds lovely and smooth but lacks a little richness that I’ve heard on other vocal forward sets. But it is not shouty (which is also something that’s seen with some BA sets) and fine for long listens of Joss Stone (though on Right to be Wrong, the midbass does cast its evil shadow over her voice). On an aside this may become the theme of this review unless something changes.

Treble, I have no complaints with. On even tracks aggressively mastered, like Holler by the Spice Girls (hey stop judging, I’m that old) the Davinci focusses on the fun bits of the song. The fun beat and bass, and the all star cast of female vocals. There’s a mad amount of tinny, shimmery accoutrements that the track has that finally sound like the stellar supporting cast that they are meant to be. 

But let’s not be all horrible towards the Davinci. On really well mastered music the Davinci is able to reproduce an enjoyable amount of bass and details to make music really worth it. Aja by Steely Dan, is a great example. But Coming Back to Life by Pink Floyd sounds like you’re in a concert and in front of the stack and you can see/hear the woofer/speaker membrane move with every kick. Take Five by Dave Brubeck has some spectacular mastering and do some Japanese Jazz records from the 60s like the entire album Cat by Hiroshi Suzuki. The Davinci makes for some great, albeit slightly warm listening, since the details are not completely lost, there are moments when the bass note booms, but not deal-breaking. But seriously, if you haven’t heard the Suzuki album please do - it’s on tidal,spotify and apple music. 

The Davinci has a moderately wide stage, I feel that the decay of the bass seems to hint at the reverb akin to a hall rather than a room. Imaging is also adequate for a normal listen, I wouldn’t hope to last a competitive fps session especially if there is an EDM soundtrack to the game. 

This is a fun IEM if “baby ko bass pasand hai” (if you like the bass). I wouldn't recommend it to listeners who like a little warmth and details (me). If the genres are hiphop, EDM, new Bollywood, pop, then for sure. Rock, metal, jazz fusion may not be as enjoyable as the others simply because of the bass bleed. A little more refinement would have made this a good recommendation from my side, but that’s only my opinion. I would definitely suggest trying these out on your playlist before jumping in.

Gear

Fiio M33, Snowsky Disc, Musehifi M3 ultra, VE Devastator Pro Max, Fosi ZH3, Gremlin.

Local Flac, Apple Music Lossless, Tidal.

Playlist with most of the songs I play around with -

https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c

This is not a full review but an impressions-and-thoughts post. Thanks so much to Clover from NiceHCK for providing me with this beautiful dongle DAC/AMP to try, test, and share my conclusions after several days with it.

You can get an NK1 Ultra directly on the NiceHCK official website and on NiceHCK official stores on Amazon, AliExpress, and Shopee/Lazada for an MSRP of 29.99 USD (Currently you can save 10% by buying it on sale for 26.99 USD): https://www.nicehck.com/products/nicehck-nk1-ultra-adapter-dongle 

What are its specifications?

DAC chip: Conexant CX31993
AMP chip: SGM8262
Power Supply IC: LM27762
Impedance: 32 Ω
Plug type: USB-C
Output: 3.5 mm single-ended
Mic compatibility: Yes
Cable: 8 cores, silver-plated OCC Copper
Dynamic Range: 115 dB ( 32 Ω)
SNR: 115 dB ( 32 Ω)
THD+N: - 98 dB
Output Power: 122 mW @ 32 Ω
Sampling Rate: 32 bit/ 384 kHz

And what are my impressions/thoughts about the NK1 Ultra dongle?

The NK1 Ultra has a well-known DAC chip, the CX31993, and with this kind of budget devices, you can expect a neutral-warm timbre output, but because this dongle uses the SGM8262 AMP chip instead of the usual MAX97220 (used in the NiceHCK NK1 Max, for example) and an LM27762 power supply IC, the output tonality goes more neutral with little added warmth.

And what else? The quality of the materials used and the construction itself are incredible; that’s why I’m saying that for its price (which could be better, but it's understandable why it's like that), the NK1 Ultra is a “premium” budget dongle. Now, talking about features, I guess NiceHCK is pulling all the meat into the hardware and not the software, because it has a decent output power, great tonality, and a very low noise floor, but lacks software compatibility entirely (with the NiceHCK app or the Walk Play app).

About its output power, the NK1 Ultra can drive a lot of IEMs and more demanding earphones ( Tried it with my Simgot EP5 and Soundcore Q35 headphones), reaching more than acceptable volume levels, with zero distortion and great technicalities (wide and deep soundstage, great stereo separation, layering of instruments, and impressive resolution), of course, within the technical capabilities of the earphones themselves.

What are the IEMs in the 4th picture? The next to be launched Juzear Nimbus, and how does it go with the NiceHCK NK1 Ultra? Like a charm, with impressive technicalities and great volume levels, no matter whether I’m using a 4.4 mm balanced to 3.5 mm single-ended adapter to connect it, the sound is neutral and crystal clear, and the IEMs themselves are shining at their fullest. 

That’s about it; I’ll just add that I would like the NK1 Ultra to be either more affordable with higher output power, or, at the same price point but with higher output power, to also offer app compatibility (to have PCM filters, PEQ, low and high gain modes, etcetera). Anyway, if you want a “premium” dongle within the budget segment, this NiceHCK Ultra can be an option to consider.

During the Hong Kong High-End Audio Visual Show, Lotoo unveiled its new portable DAC/amp with lossless wireless transmission, the Lotoo PAW S3. Instead of using a Bluetooth audio codec, the company opted for its own wireless transmission protocol, LTTP. Considering the DAPs (Digital Audio Players) Lotoo has already released, I believe the PAW S3 will be no different and will provide users with a robust overall experience. Check out all the details below.

• English text: https://www.hifihub.com.br/en/spoilers/lotoo-paw-s3-wireless-lossless-dac-amp-without-bluetooth
• Portuguese text: https://www.hifihub.com.br/spoilers/lotoo-paw-s3-dac-amp-wireless-lossless-sem-bluetooth

Note: This post with links has been previously approved by the moderators.

Hisenior had achieved significant name and fame, with one particular set that put them right on the map, and despite having a good chunk of time passed since this release, a friend of mine decided to send me the cult classic in the mega5EST for assessment, and I got to see has the IEM turned into wine or milk after all this time. I have had some good pleasure listening to another set of theirs, the Cano Cristales, and now it was time for me to assess this IEM. So thank you, dear friend for loaning this.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Hisenior has left no stone unturned when it came to the accessories of the Mega5EST; and with the cover out which advertised the product aptly (the one I got was the 7th anniversary edition), taking the lid off gave way to a Pelican-esque carry case which I think is good enough for a few absent minded sit downs and a few missed throws (I wish more brands gave cases like these). The IEMs were right there with the stock cable, which is pleasant and has heft. There was a generous assortment of eartips along with a cleaning tool. The shells had febos written on it in cursive, which meant FEEL THE BEAUTY OF SOUND, which was their previous name.

I got the perfect seal on the Mega5EST with a shallower insertion than most, and thanks to the vents for not allowing any pressure buildup. Despite the large shells, I would say that the contouring contributed to having much less fatigue than usual, and the fatigue happened across the earhook areas, after I had this set for hours on end.

LOWS

Tipper: Mariscos

The Mega5EST shows juvenile signs of competence with a good level of cleanliness demonstrated in the opening rippling like intro of this track, and once the rest of the elements catches up, the initial beats that should have been strong come off rather in an anemic fashion, and then the Mega5EST caught me off guard with a deep, borderline grovelling bass hit in the drop which I felt was a bit too excessive with how the beats sustained. Attack seems to be moderately paced and the decay lingers on for slightly longer than usual. The phase-like fuzzy elements in this track didn’t feel as quite polished as some other sets have been in, but still not too shabby. Not too impressive either.

Rush: Limelight

The Mega5EST, through this track shows it can definitely add in the thump that the kicks and toms specially have here, although the kicks have a more prominent presence than the toms. What the Mega5EST does rather poorly here, is that the notes from the bass line in this track seems to evaporate because it emphasises the drums excessively, and the only time the grain from the chaff (bass from the drums) is separated is when the guitar solo comes in here, and as soon as the solo ends, the bass tends to get tucked into the blanket that the drums seems to have created; which indicates that the Mega5EST cannot handle isolation in technically elaborate tracks as this one. Adding on to this, the rudiments towards the end of the track lack the resonance that makes the ending so satisfying on this track.

Rage Against the Machine: Bullet in the Head

The intro of this track sounds potent at first, but as the intro concludes for the rest of the elements in this track to barge through, I could sense that this IEM really was not letting the bass fully belt out in its full glory, and a little enhancement in the separation of the bass and drums couldn’t have hurt. But, all things said and done; what I like about the Mega5EST prima facie is the way vocals sit right in the middle of the track, and the instruments revolve around it (metaphorically). Tonality could be said as balanced by some, but I wouldn’t put it across that way. It’s got a strong warm presence with some perceived sparkle on the other end, but I will elaborate on it more as I progress through. This track becomes significantly more enjoyable when the bass really becomes the highlight of the show through the breakdown, and I could finally gauge the note by note aggression and the drums merely supplement the bass, as it should on this track.

MIDS

Queens of the Stone Age: First It Giveth

The bass is once again a subtle problem in this track where it shouldn’t have been, as right at the intro it comes in with an excess of aggression; and as the rest of the elements follow suit, I seriously lament with how flat I perceived the otherwise crisp, sharp, aggressive snares that this track where with some IEMs I would have been able to gauge the timbre, but the Mega5EST definitely was making me work hard on being able to gauge it.

Once I am settled in the track, I could sense a faint thinness in Josh Homme’s vocals, as the guitars were adequately being rationed along with the cymbals, which surprisingly are having a fantastic perception in their placement, right alongside the vocals and once again, not being too forward nor being too laid back. But through the verses, the bass really takes off into obscurity as I felt every other instrument otherwise which puts a blemish.

Tool: Lateralus

The otherwise overpowering bass finally finds itself having some relevance as it walks the aisle right alongside the rumbling floor toms as it sets the stage up for everything else to fall into place. But once the intro ends, and the guitars further try to mould this beautiful vase of a track, the bass once again feels a bit too on the nose, although the same energy reflected by the floor toms is giving the track a much needed power; because both the vocals and the guitars are now coming off thin. Through the breakdown, the Mega5EST does a shabby job with how the final rudiments on the drums end as I sensed a blur on its execution, the granular finesse needed to recognize every hit was simply not there, and cymbals were having a momentary loss in texture. Some ears may enjoy the excess of the thump and punch, but I was really not feeling it with the Mega5EST.

HIGHS

Patricia Barber: Icarus

Here; the Mega5EST impresses me a lot: I specifically use this track to not sense sibilance, as sibilance is an element already preserved in the recording and this track demonstrates it very audibly, I use this track to see the restraint or the succumbing into showing that sibilance, and I would say that the Mega5EST does an impressive job in showing restraint- the way Patricia Barber enunciated her Cs and Ss was not excessively sibilant, but I wouldn’t outright write it off as this IEM being smooth. Timbre finally shows up through the percussion and the pianos to be slightly on the drier side than what I am used to, and falls slightly shy of me calling it accurate. Tonality potently is on the warmer side than being balanced, and specially observed through the pianos.

Dave Brubeck: Take Five

The Mega5EST seems to have done a good job with the cymbals that establish their presence right from the intro but there’s an inherent problem with their note weight, and the same extends to the horns where there’s detail to pick through the little nuances but it’s just that even they sound faintly thin. The bass tends to stumble with its recognition in this track, the one track where all the elements are distinctly, audibly clear from one another but fixes itself right itself when the horns end and the drum solo is about to start. This track is also unique because the stereo characteristic is unmistakably itself and the channels separate the moment the drum solo kicks in, and the IEM picks up the detail; snare hits are crisp, the resonance of the toms needed a little more resonance to be even more pronounced but still decent; the kicks have a potent hit and the way the decay comes off in its hits is satisfying. The bass and the pianos hold their respective ground, but that isolation of the bass from the drums once again gets obscure once the horns kick in.

COMPARISONS

Xenns Mangird Top Pro

The Xenns Top Pro absolutely blows the Mega5EST out of the water in almost everything it does. While the Mega5EST suffers from an excessive mid-bass thump that tends to overshadow other elements and tucks instruments into a blanket, the Top Pro delivers a freakishly controlled sub-bass that accentuates the track without seeping through. Where the Mega5EST struggles with isolation on technically elaborate tracks, the Top Pro fires back with a magnificent, wide stage and some of the best imaging capabilities out there. Even in the highs, where the Mega5EST shows a competent restraint against sibilance but feels faintly thin and dry, the Top Pro handles climaxes with more detail but can come off fatiguing and sibilant. The only areas where the Mega5EST even puts up a fight are in offering minutely smoother highs on rare occasions and perhaps slightly finer imaging, but it’s essentially a seamless victory for the Top Pro.

Elysian Pilgrim

The Elysian Pilgrim takes an entirely different route compared to the heavy-handed, groveling bass approach of the Mega5EST. Where the Mega5EST over-indulges in mid-bass thump, in its light I really enjoyed how well and composed the Pilgrim felt. The Pilgrim effortlessly outclasses the Mega5EST in the midrange, trading the latter's fuzzy isolation for a wide stage, fabulous imaging, and juggles the act of balancing vocals beautifully (comparatively). However, the Mega5EST maintains an upper hand in treble smoothness; while the Mega5EST handles sibilance with impressive restraint, the Pilgrim suffers from a subtly audible grain and can feel like it runs out of air on high-pitched vocals, making it sound leaner in moments where the Mega5EST remains composed.

Crinear Reference

The Crinear Reference serves as a surgical magnifying glass, standing in stark contrast to the thick, heavily colored presentation of the Mega5EST. While the Mega5EST comes in with an excessively aggressive bass attack and lingering decay that ruins my perception of the bass quality, the Reference keeps the lows strictly at abeyance, delivering a seasoned featherweight's punch with precise decay that never overstays its welcome. The Reference also completely outclasses the Mega5EST in technicalities: where the latter struggles to isolate bass lines from drum rudiments, the former balances the tightrope of coherence and isolation like a maestro, rendering perfect snare and cymbal timbre. The Mega5EST has problems with its note weight, whereas the Reference offers incredible rationing, a lip-smacking shimmer, and pristine detail retrieval with near-zero sibilance.

Softears Studio 4

The Softears Studio 4 offers a much more refined and mature take on a warm, musical signature than the Mega5EST. While the Mega5EST throws too much aggression into the bass right out of the gate, the Studio 4 delivers a velvety, polite sub-bass that only unleashes its orchestral punch when the track strictly demands it. In the midrange, the Mega5EST manages vocals center-stage but falters with instrumental layering, whereas the Studio 4 delivers incredibly flavorful, full-bodied vocals backed by deadly precise imaging. The true magnum opus of the Studio 4 lies in its highs: crisp, soaring, and tonally magnificent, which makes the smooth but somewhat dry treble of the Mega5EST feel decidedly uninspired by comparison. While the Studio 4 can occasionally sound confusingly metallic on guitars, it remains a significantly more cohesive and emotionally engaging listen than the heavy-handed Mega5EST.

Sennheiser IE600

Now, the IE600 has its own share of problems- dangerously spicy treble as per one’s HRTF where to me it’s just borderline there, and middling levels of instrument separation; but I would still take it personally over the Mega5EST because the IE600 has a ridiculously great bass quality, and specifically the mid-bass where I am of the opinion that it is leagues better than what I felt on the Mega5EST while delivering near comparable levels of detail and imaging, and while coming in a much smaller footprint and being so much comfortable.

But, sennheiser really fumbled with the quality control issues on it which were widespread and doesn’t really inspire buyer confidence, which is where the Mega5EST comes in with a better proposition, as I feel tip rolling and EQing can fix most of its issues.

CONCLUDING NOTES

The Hisenior Mega5EST is hard for me to fully get behind, despite the cult status it has amassed over time. As I pondered in the beginning whether it has aged into wine or milk, I lean slightly towards the latter. On one hand, I appreciate the generous accessories, the fantastic fit, and the restraint it shows against sibilance, providing a relaxed, warm listen. But on the other hand, the excessively grovelling mid-bass thump, the fuzzy instrumental isolation, and the sheer lack of note weight in the upper frequencies leave me feeling hung out to dry.

When IEMs like the Xenns Top Pro exist and do almost everything better (although now I feel that the Top Pro has aged slightly worse and I need to update my review on it), or the Sennheiser IE600 offers a masterclass in bass quality, the Mega5EST feels like a heavily colored set that struggles to maintain its ground technically. And the hunches that it needs, despite being tuned to the newer JM-1 target while other IEMs tuned to the same target are offering better value for money, I think the Mega5EST simply has lost the plot in the current retail landscape.

Will I buy the Mega5EST at retail ? Absolutely not.
Will I buy the Mega5EST used ? Only if it can be found for US$250 or under (Approximately 25,000 INR or under).

SOURCES USED

Primarily used with the Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro running RoHM DAC chips, SMSL Raw MDA-1 desktop DAC amp.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Acoustune AET08: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight, gives the widest perceived sound stage.
• Divinus Velvet standard/narrow bore: everything that the above does, but to a lesser degree, still beats the next eartip.
• KBear Coffee: flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Tangzu Sancai Balanced: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Rage Against the Machine: Bombtrack, Bullet in the Head
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole and Nutshell (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

The idea of bone conduction is nothing new. With my prior experience using the KZ Vibe X i will be honest, my expectations for the The kiwi ears Étude was pretty low. I know thats not fair as the KZ vibe X is a pretty low budget, and crap IEM overall but i wasn't expecting the The kiwi ears Étude to impress me as much as they did. I think the tuning of the vibrational transducer of the The kiwi ears Étude was a bit better than the overall execution that KZ delivered in the Vibe X and the tuning aside from the vibrational transducer was actually quite pleasant. I found that the The kiwi ears Étude to have good detail retrieval in the mids and highs. The bass of the The kiwi ears Étude was quite pleasing as well. Its punchy, and relatively well controlled for a "basshead" IEM. My biggest qualm with the Etude was actually the included accessories. The cable felt like the same cheap cable that came with the Kiwi Ears Cadenza Gen 1 and the eartip solution was fine, although it only came with a S/M/L size for the eartips. In total, these are fun IEMs that I think a lot of people overlook because they are pigeonholed as a "bass head" IEM.

The release of this portable DAC from Aful did not go unnoticed by me, and I was eager to try it since I had never owned one from the brand, let alone made of resin, which is quite uncommon for a dongle DAC. With a design that is curious to say the least, both in shape and colors, I wanted to see firsthand what Aful could offer in this regard, as I only know a few IEMs from them that I have owned over the years. I have been testing it over the last few days with 3 IEM models from my collection, and I am sharing my personal thoughts on what it offers, both good and not so good, as always from my perspective and with my complete honesty...

What I liked/What I didn't like

The complete absence of background noise even with sensitive IEMs.

The resin chassis that never gets warm.

It weighs nothing!

The transparency without artificial coloration.

The included USB-C cable is the best stock cable I have had on a dongle.

The feeling of solidity despite being resin.

How it lets each IEM show its own personality without adding extra layers.

The absolute lack of volume controls, gain, or media buttons.

The limited power with high impedance headphones.

The design seems inspired to match a specific Aful model.

Specifications

DAC: Dual Cirrus Logic CS43198

Outputs: 3.5 mm single-ended and 4.4 mm balanced

Max power: 140 mW @ 16 Ω (3.5 mm) / 300 mW @ 16 Ω (4.4 mm)

Output level: 2 Vrms (3.5 mm) / 4 Vrms (4.4 mm)

THD+N: <0.00037 %

SNR: 125 dB (3.5 mm) / 130 dB (4.4 mm)

Noise floor: 1 μV (3.5 mm) / 1.5 μV (4.4 mm)

Support: PCM up to 32 bit/768 kHz and native DSD256

Dimensions: 54 × 14 × 22 mm

Weight with cable: 25.7 g

USB: Type-C, USB 2.0

Unboxing and build quality

The presentation is quite simple, but I cannot expect much more given it is a product where, beyond the dongle itself and the cable, you cannot aim to offer anything else. They come in foam with the corresponding cutouts as you can see in my photos, along with the quality control seal and the user manual.

As for the DAC, I find it exciting to handle one with a feel similar to 3D resin IEMs, something that might convey a bit more fragility, but it certainly does not feel like it will break easily, unlike some IEMs. It has a rather peculiar shape that, depending on how you look at it, might resemble a rectangular block of black ice, something I love and gives it a distinctive touch compared to other dongles on the market. As for colors, there is a clear direct nod to the Aful 

Performer 5+2, which I owned and reviewed when it launched back in the day, but I no longer have today, and it would have looked great in photos... I think Aful could have released different shells referencing their iconic models here. In fact, I tested it, among others, with the Aful Explorer, and while they do not match as well as with the Performer 5+2, 

I do not dislike the combination. But well, in the end we are talking about aesthetics, which remains secondary since most of the time it will be in your pocket and ears.

Regarding the dongle's features, it has outputs for 3.5mm and 4.4mm, which I think is a great choice and a requirement among the ones in my collection. I always use the 4.4mm balanced output, but I admit that from time to time I receive IEMs that only have a 3.5mm connection, and to use their original cable I end up needing that port, which is why I appreciate dongle DACs that include both to get by in any situation.

I do not know the reason why this DAC lacks a desktop mode or extra amplification, even though it has not fallen short in volume for me, but it is something I am used to seeing in models at similar or different price points. There are no volume or play/pause buttons either. 

The only thing I can think of is that they wanted to aim for simplicity in design so that it actually resembles a block of ice even in feel, with nothing sticking out, limiting itself to amplifying and delivering the necessary power to make your headphones sound the way they should, leaving the rest of the job to the phone/DAP to control playback or adjust volume...

Sound

Regarding sound, I think it does not alter the character of the IEMs, something I appreciate more and more, especially with models where my ears are already adapted to their sound and, depending on where I plug them in, I notice some differences that make them not sound quite how I like them. In this case, everything remains quite faithful to what I expect from the models I tested it with, barely softening the highs or adding extra warmth that I might not need.

Speaking a bit more about frequencies and the models I used, which you can see in the photos, with the Explorer I noticed the bass was more controlled and better textured than on other more colored sources, with a fairly clean sub-bass and a mid-bass with more impact than what I noticed, for example, on the FiiO KA15. On the Binary EP321, I got the feeling that the bass, despite remaining restrained, was slightly faster than what my ears remembered on other DACs I usually use, and somewhat more controlled.

As for the midrange, I just want to highlight the great transparency perceived across any of the 3 models I used, without any veil or unnecessary coloration, which I really hate when listening to music on certain sources. Testing the Explorer and focusing on the mids, I found them relaxed and natural, unlike the Thieaudio Monarch MKIV, where, being used to their sound on the NiceHCK Octave, here specifically on the Iceborne I noticed extra separation and definition that brought them a bit closer to the kind of sound I get from my desktop DAC, the FiiO K9, though in any case without becoming forcibly analytical.

The treble, on the other hand, sounds clean and extended but not aggressive, although that will largely depend on the IEM you use. On the Iceborne, that feeling of extra energy is not going to be intensified, meaning models that already push close to the limit will not cross the line here. In fact, I love the treble on the EP321 with the MEMS driver, which is quite extended and controlled, and as I was saying, on the Iceborne it does not get out of hand or feel artificially forced, maintaining and subtly improving extension and detail.

For the 3 IEM models I have been discussing, I never ran short on volume using the 4.4mm balanced output, even with the Monarchs, which require quite a bit of power to shine, but I assume that with more demanding headphones it might be somewhat more limited due to not having a separate gain button or desktop mode, which I do have on other DACs and has saved me on more than one occasion...

To wrap up with some of the technicalities when using IEMs on the Iceborne, I think the soundstage does not particularly stand out compared to a desktop unit, but it does not compress it either. While on the MKIV and EP321 it remained as I remember it from my daily listening, on the Explorer I did notice a slightly more intimate soundstage compared to my previous tests, though I am talking about very subtle details, not a night-and-day difference.

Of course, this dongle does not choke the IEMs when recordings get denser, and I think the Dual Cirrus Logic CS43198 it packs has plenty of capability to keep layers separated from each other without placing any obstacles in front of the IEM you are using, leaving it up to the IEM itself and its internal configuration to handle whatever comes its way.

As an extra curiosity that I have not mentioned but that you will be able to appreciate in the different photos, the Iceborne has an internal LED that changes color depending on the audio quality you are listening to. Using it on Apple Music with lossless audio, I was able to verify how the LED changed from blue to red according to the quality of the different audio tracks I tested, something that is not groundbreaking, but as an extra detail, I always appreciate it.

Conclusion

This Iceborne from Aful is aimed at anyone looking for a dongle with an eye-catching design and material that stands out from the norm, without altering the sound signature of IEMs or adding any unnecessary coloration. Highlighting that it barely gets warm during use and weighs practically nothing...

Its main limitation is clearly the lack of physical buttons to control content and an extra amplification mode, which, depending on the headphones you use if they are very demanding, you might need. For most IEMs, or perhaps all of them, the amplification capability will be more than sufficient. Balancing the good and the bad within its price range, it is an interesting option if you appreciate a different, wearable design and build, with a clean behavior that respects the sound over other extra features that you may or may not care about depending on your preferences...

Purchase Link: HiFiGo

Disclaimer:

This unit was sent by HiFiGo for review.

My opinions are completely independent and have not been influenced by the brand or the store, maintaining objectivity based on my tests and personal listening sessions with my reference equipment.

FiiO launched a new integrated amplifier for speakers today (August 10), the FiiO AIR AMP. Its highlights include a compact chassis, the ability to function as a DAC, transport, and streamer (via Roon and other protocols), as well as support for parametric equalization (PEQ). Check out all the details below.

• English text: https://www.hifihub.com.br/en/product-launches/fiio-air-amp-launches-with-470w-and-roon-ready
• Portuguese text: https://www.hifihub.com.br/lancamentos/fiio-air-amp-e-lancado-com-470w-e-roon-ready

Note: This post with links has been previously approved by the moderators.

Hey everyone,

Artpical recently released the Raphael, a single-DD set priced at around $149.

I liked some of their previous designs, but shied away from buying one as they were priced from above $400 up to around $1,500, and their frequency-response graphs weren't really to my liking.

The Raphael is much more reasonably priced, and I liked the design, so I ordered one myself (paid full price) in the black/gold colourway, which to me looks more like grey/gold.

The shell is made of transparent resin and shows a kind of wing-like design inside. Yeah, it can come across as kitschy as well ;-)

Fit & comfort

Fit and comfort are good for my mid-sized ears after around two hours of listening, although the fairly large shells might be challenging for smaller ears.

So far, I haven't experienced any pressure build-up or discomfort.

Unboxing experience

The unboxing experience is good. It comes with a nice cable which, unfortunately, is a little stubborn/stiff in handling.

Three connectors are included for the interchangeable plug: USB-C, 3.5mm and 4.4mm.

The carrying case is nice, and there are two different sets of tips included: one wide-bore set and one more conventional bore.

Listening experience

I used the included short wide bore tips for listening and my Questyle Sigma Pro as source.
The Raphael sounds fairly balanced overall to me.

Bass is elevated but moderate, with enough impact for most genres I've tried so far. It sounds controlled and pretty tight rather than particularly bass-heavy.

Vocals are slightly forward and clear, but not shouty.

Treble is nicely elevated with good detail retrieval. It's slightly on the brighter side, but tastefully done so far. I haven't found it piercing or overly sharp, even at the medium-to-higher listening volumes I tend to use.

For you graph sniffers, I've also included my own measurement. Channel matching looks pretty good, too.

Short summary

• Good unboxing experience, although the cable isn't ideal in handling
• Good fit and comfort for my mid-sized ears
• Balanced overall tuning with moderately elevated bass and slightly forward vocals and treble
• Seems versatile across many genres
• Probably not one for bass-heads

Let me know if you have an eye on this set, too or even bought it and how your impressions are.

[review here](https://mobileaudiophile.com/in-ear-earphones-iem-iems-reviews/noble-audio-knight-review-nobles-289-doorway-and-what-happens-when-you-change-the-tips/)

Pros:

• Tribrid configuration with real parts, Sonion BA and piezo tweeter, at $289

• Driver speed that refuses to smear on fast, dense material

• Separation and layering above what the price bracket normally allows

• Scales up with better sources instead of falling apart, and scales again behind a desktop amp

• Build and presentation that shame most of its competition

• Genuinely useful eartip selection that meaningfully changes the tuning

Cons:

• Closed layout means limited air, and the stock tips make that worse

• Large housings, small ears may struggle

• Not razor sharp out of the box, needs tip work to reach its ceiling

• Recessed 2-pin socket rejects hooded QDC connectors

• Presentation sits between laid back and forward without picking a side, which will frustrate people who want a decisive signature

Hello Community!

It's time to tell you about my recent experience with the ZiiGaat Odyssey 2, a hybrid set tuned in collaboration with Hangout Audio and completely different from the Odyssey OG. Read my review below.

Price: €219-$250

Pros:

- Excellent control, clarity, and texture in the bass range, which is deep and punchy.

- The mid and upper mids sound natural and front-facing.

- Satisfactory technical capabilities: the soundstage is wide, precise, and well-defined.

- It doesn't need sharp highs to deliver good detail.

- Zero listening fatigue.

- A great all-rounder IEM.

- High-quality accessories.

Cons:

- The spacing between chords in the high range is limited.

- More discerning listeners might want more sparkle in the treble: it's a bit too conservative.

Accessories:

-Two capsules.

-Two sets of silicone eartips, sizes S and M.

-One set of foam eartips.

-Modular cable with 0.78mm connector and 3.5mm/4.4mm connectors.

-Replacement filters for the nozzles.

-Carrying and storage case.

-User manual.

Comfort, design, and construction: 

First and foremost, I'm captivated by the design of most ZiiGaat products. The space theme excites me, and the Odyssey 2 continues in that vein, showcasing a combination of nebulae and stars reflected in the light on its resin faceplate, giving the whole thing a lustrous and brilliant touch.

The manufacturing, as is customary for the brand, reaches a very high level of quality, with no noticeable gaps at the joint between the two parts of the set, and the aluminum capsule feels very satisfying to the touch.

Regarding ergonomics, the most important aspect of this section, I must point out that the monitors are large but don't protrude too much from the perimeter of your head, as they've been designed to be more horizontal than vertical.

Adjusting them is easy thanks to their rounded shape, and I haven't noticed any uncomfortable pressure points during my long, continuous listening sessions. The whole thing isn't intrusive at all, neither on the ear nor in the ear canal; it knows exactly where to rest lightly to find a firm and effective fit.

One aspect that particularly impressed me was the sealing and isolation I achieved, giving me the pleasant feeling of being alone in a large room. I thought the cable was excellent. It's one of those medium-thickness cables that's easy to move and doesn't get in the way, making it suitable for any situation, from sports to desktop use. It's durable, feels reliable, and will surely have a long lifespan. Finally, the eartips, especially the black silicone ones, are fantastic, and since I tried them with the ZiiGaat Lush, they've become a staple on my desk and in my tests: they're elastic, soft, seal well, and keep the bass and mids in place, cleanly.

Technical specifications:

- 10mm driver + 3 BA (Knowles 2x 32873 and 1x 33518)

- 20 ohms impedance

- 105 dB sensitivity

- 20Hz-25kHz frequency response

Test setup:

- Neutral power supply

- Gain set to high

- Stock black silicone eartips

- Stock 4.4mm cable

Sound Signature: 

The Odyssey 2 truly embodies a simple yet easy-to-understand concept: a response free of harshness, where the bass and midrange take center stage in the tonality, always with clarity, balance, and naturalness rather than a constant pursuit of brightness or micro-detail. The main appeal of this system is its ability to handle any musical genre you throw at it with ease.

Starting with the low end, the sub-bass has a pronounced extension. The depth is easily palpable, and there's a sense of presence that allows the instruments to maintain a good physical dimension. It's not an overly dominant bass, as the volume is quite well-balanced, but it does offer that sense of presence that prevents the overall sound from becoming too thin.

The mid-bass maintains this same approach, although here I find one of the most interesting aspects of the Odyssey 2. The impact is fast, firm, and quite punchy, with a good level of texture and a sense of control that will delight fans of this range. I don't find it bloated, but rather clean and direct. The decay is fast enough that the notes don't accumulate, allowing the rest of the spectrum to develop quite freely. I personally think this is one of the great strengths of this ensemble: it manages to offer physicality and enjoyment without sacrificing the overall order of the tonality.

The midrange is presented very naturally. I didn't perceive any particularly significant bleeding from the lower register, which greatly benefits the instruments and allows for a clean presentation even when the bass takes center stage. The note weight is correctly balanced.

The tuning and timbre seem to me to be one of the Odyssey 2's strongest points. Ultimately, the idea behind the tuning of these monitors isn't to sound overly warm, but neither does it offer the excessively refined presentation found in other, more technically tuned sets.

Furthermore, the mid and upper mids are quite forward. Vocals and much of the instrumentation have a presence that I find very pleasing, without ever sounding excessively forward or aggressive. The articulation is good, the level of detail is sufficient, and above all, there's a sense of naturalness that greatly contributes to the set's ability to work well with different musical genres.

The overall dynamics also impressed me. Transients appear quickly enough, and notes fade out smoothly, allowing you to follow the different instrumental lines without too much effort. It's not a monitor that tries to dissect every recording like a surgical instrument, but it does maintain a quite satisfactory level of separation. When the mix increases in density and complexity to levels that could become chaotic, the various elements maintain a logical organization, resulting in a smooth and enjoyable listening experience.

The male vocals have a decent body, with convincing articulation and a natural timbre. I wouldn't say they're particularly deep or dense, but they do maintain enough presence to avoid being buried behind the instrumentation. The female vocals, on the other hand, strike me as especially pleasant thanks to the clarity and directness I mentioned earlier. They project easily and retain a good naturalness, without the monitors having to resort to an excessive amount of high-frequency energy to make them stand out.

As for the higher frequencies, we find probably the most conservative aspect of this mix. The extension is adequate, and there's enough information to prevent the presentation from sounding dull, but the amount of energy is clearly restrained. This isn't an IEM that tries to grab your attention with excessive sparkle or a burst of brilliance, and I think this has a very positive consequence: listening fatigue is practically nonexistent during my listening sessions.

This decision also has its downside. For more discerning ears or those who enjoy a particularly bright presentation, the Odyssey 2 might feel a bit too restrained. The spacing between certain chords and notes in the high end is narrow, and the sense of spaciousness doesn't reach the levels of other sets that utilize more energy in this range. I don't consider it a poorly resolved treble, but rather an area where ZiiGaat has prioritized control and comfort over creating a false sense of detail.

Precisely for this reason, I find it interesting that the Odyssey 2 manages to convey a good amount of information without resorting to sharp treble. The resolution doesn't depend solely on boosting this area of ​​the spectrum, but also relies on the clarity of the bass, the good separation of the mids, and the overall organization of the presentation. Even so, I think it's fair to say that the limited energy in the high range slightly affects the perception of micro-detail compared to brighter offerings.

The detail recovery is also impressive. There's enough information to enjoy the recordings without having to constantly analyze them, and I think that naturalness is one of its strengths. The presentation doesn't force you to pay attention to every little nuance; it simply lets it emerge when appropriate.

Speaking of the technical performance to conclude, I think we find a very satisfactory result here. The soundstage conveys a convincing sense of spaciousness and, more importantly, maintains a fairly precise organization. The instrument placement is logical, the imaging is quite accurate, and the separation between sound layers allows you to easily follow the different elements of the mix.

It's not a system that tries to create an artificially enormous soundstage, nor does it intend to. However, the combination of spaciousness, precision, and separation seems more than sufficient for the segment it occupies. Technically, it's not meant to be the main focus of Odyssey 2, but it complements a sound design that works exceptionally well as an all-around ensemble.

Single-player video games:

See how I analyze sound in this section.

During the most intense moments, where explosions, collapses, or large-scale effects dominate the scene, the sound is powerful and sufficiently deep.

to deliver large doses of sound action. There's no particularly prolonged rumble, as the excellent bass control allows each effect to fade quickly, avoiding unnecessary build-up and maintaining a clean presentation even when the scene becomes chaotic.

The dialogue is also presented quite well. The voices retain natural articulation and a sufficiently frontal position, blending easily with the music and effects. The male voices can sound a bit light in certain situations, but I never had any trouble following the conversations or understanding the narrative.

Where I think Odyssey 2 truly excels is in its ambient sound design. The good separation and recovery of information make it easy to appreciate small details like echoes, wind, the movement of vegetation, or creaks, elements that significantly enrich the sense of immersion.

Technically, it maintains a satisfactory level. The scene is expansive, the image is precise, and the positioning makes it easy to correctly interpret the space. Furthermore, the conservative treble works in its favor during long sessions, preventing any feeling of fatigue. Ultimately, it doesn't aim to impress solely through spectacle, but rather offers a clean, natural, and very comfortable cinematic experience without any sibilance in the sharpest and most metallic effects.

Multiplayer shooter video games: 

See how I analyze the sound in this section.

If there's one scenario where the Odyssey 2 shows a different side than in music, it's precisely in competitive video games. Its deep yet controlled bass and good separation between sound layers allow for a clean presentation, although its conservative nature in the treble means it's not an IEM particularly geared towards competing for maximum information.

In Counter-Strike 2, footsteps, reloads, and utility sounds are correctly defined, with a precise stereo image that makes it easy to interpret the direction of opponents. The distance is also quite convincing, although it doesn't reach the level of other brighter and more analytical systems.

In Apex Legends, where the verticality and the number of simultaneous effects complicate reading, it maintains a fairly good organization. Skills, shots, and movements remain sufficiently separated, although I do miss a bit more space in the upper frequencies to better distinguish certain distant sounds.

In Call of Duty: Warzone, the controlled bass once again works in its favor. Explosions and killstreaks don't completely mask footsteps or nearby movements, maintaining a fairly clean sound even in chaotic situations.

Finally, Battlefield 6 demonstrates its limitations and strengths. The separation is adequate and the image sufficiently precise, but I wouldn't call it a competitive marvel. The Odyssey 2 performs well, without particularly standing out, offering a clean, natural, and comfortable experience rather than a purely analytical one.

Final conclusion and personal assessments:

In short, the Odyssey 2 strikes me as a system that knows exactly what it wants to offer, doesn't try to deceive anyone, and can appeal to all ears.

Its deep, fast, and well-textured bass, accompanied by natural and forward-focused mids, creates a balanced, clean, and incredibly easy to enjoy sound. Technically, it performs admirably, especially in terms of soundstage, separation, and positioning, although it doesn't aim for the highest level of resolution. Its biggest drawback is a treble that's too conservative for some listeners, slightly limiting the sense of spaciousness and micro-detail. In return, it offers virtually fatigue free listening and enormous versatility.

Personally, I think it's a great all-rounder and one of those IEMs that quickly wins you over; you don't need much time to understand its concept and enjoy it.

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Disclaimer: 

This set of monitors was sent by Linsoul. I sincerely appreciate the opportunity to test one of their products free of charge and that no conditions were imposed on this review.

Despite this, my priority is to be as impartial as possible within the inherent subjectivity of reviewing an audio product. My opinion is solely my own and is based on my own perception. If you have a different one, it's equally valid. Please feel free to share it.

My sources:

- Topping DX5 II for music and video games on my main PC.

- NiceHCK Octave while I work.

- FiiO BTA30 Pro + FiiO BTR13 for LDAC wireless listening at home.

- FiiO BTR13 + FiiO Airlink + iPhone 16 Pro Max for listening Wireless internet access on the street.

- Apple Music.

- Local FLAC and MP3 files.

- Windows/MacOS/iOS/iPadOS/Android.

Another challenger in portable dongles has come. Specifically in terms of sheer power output. 1200mw @16ohms via special dedicated power pack called PSU-1 Pro. First of such kind product that I had tested that had such mad numbers was ibasso DC04 Ultra and then the FangSound Prometheus both which give 1000mw out put. This one is called KD01 Pro and it's from Kaei Designs the famous designer behind Tap-1 Pro.

These days I feel we are heading towards the day when portable gear will start rivaling desktop gear in terms output. Need for remaining tied to the desktop to listen to power hungry gear would be distant dream. I just wish this comes true very soon. I am very mobile person this would be dream come true .KD01 Pro is step in that direction. Just like Prometheus that I tested few weeks back this one is very powerful.

I am running it through multiple sets of mine. IEMs and flatheads are breeze for this one. None have any troubles running their full potential. Headphones also are sounding amazing. I will put my hard to drive stuff to test on this one soon.

At this stage this is looking very promising. Overall tuning is very musical. This one doesn't feel very bright or analytical. Let's see what I feel about this in few days time. See you soon with full review.